dreispitzhalle 2013 th 15 saturday june th 10 monday … · adn galerÍa adn galería proposes a...
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532 Thomas Jaeckel ------------------------------------ C26ADN ---------------------------------------------------------------------------------------------------- A9ANNA NOVA --------------------------------------------------------------- C28ALARCÓN CRIADO ------------------------------------------- B3ARANAPOVEDA -------------------------------------------------------- C8ASBÆK, Martin -------------------------------------------------------- B12ASPN ------------------------------------------------------------------------------------------- A16ATHR ------------------------------------------------------------------------------------------------- A1BALZERARTPROJECTS ---------------------- C27BASTEJS -------------------------------------------------------------------------------- C9BIANCHI, Federico ----------------------------------------------- C7BINDER, Andreas ---------------------------------------------- C33BRANDL, Sebastian ---------------------------------------- A17BRANSTEN, Rena ------------------------------------------------- C5BRUNDYN + GONSALVES --------------- C15BRUNNHOFER ------------------------------------------------------------ A5BULIAN, Laura --------------------------------------------------------- C16CHAPLINI ------------------------------------------------------------------------------ C3COHEN, Ethan -------------------------------------------------------------- B2CONNERSMITH. ------------------------------------------------------ B7DILLON --------------------------------------------------------------------------------- C34DUKAN ---------------------------------------------------------------------------------- C35EB&FLOW -------------------------------------------------------------------------- A12EGELUND, Christoffer ------------------------------ C20ESPACIO MÍNIMO --------------------------------------------- B17ESPAIVISOR -------------------------------------------------------------------- B8FERRARA, Jonathan ------------------------------------ A21FLEISCH, Marie-Laure ---------------------------------- B4FORTLAAN 17 ---------------------------------------------------------- C19FROSCH&PORTMANN ---------------------------- A10GARNATZ, Julia ----------------------------------------------------- C13GUÉPIN, Muriel ------------------------------------------------------ C30GUERRERO, Enrique -------------------------------------- B5H.A.N. ---------------------------------------------------------------------------------------- C18HEIDE, Patrick ---------------------------------------------------------- A13HELSINKI Contemporary ---------------------- B11HILGERBROTKUNSTHALLE ------- C25
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HOLE -------------------------------------------------------------------------------------------- A11INTERNATIONAL 3 ---------------------------------------------- A8JARMUSCHEK --------------------------------------------------------- C22KLEINDIENST ----------------------------------------------------------- B10KRUPIC KERSTING || KUK ----------- B16KUDLEK, Martin -------------------------------------------------------- C6LARM --------------------------------------------------------------------------------------------- B9LARSEN, Christian ------------------------------------------ C23LAV, Peter ------------------------------------------------------------------------------ B6LÉNA & ROSELLI -------------------------------------------- C32MA2 ------------------------------------------------------------------------------------------------ A18MANDOS, Ron -------------------------------------------------------------- A3MAZZOLI, Mario ------------------------------------------------------- C2P74 ------------------------------------------------------------------------------------------------- C14PABLO’S BIRTHDAY --------------------------------------- A2POULSEN -------------------------------------------------------------------------- C11PRO ----------------------------------------------------------------------------------------------- C17PURDY HICKS -------------------------------------------------------- A22RISLEY, David ---------------------------------------------------------------- A6ROLLINS, Tyler ------------------------------------------------------------ C4RUBICON -------------------------------------------------------------------------- B14SECCI, Eduardo --------------------------------------------------------- C1SKAPE ------------------------------------------------------------------------------------- C24SLAG ------------------------------------------------------------------------------------------ B15SMAC ---------------------------------------------------------------------------------------- C12SMITH, Charlie -------------------------------------------------------- C21SPECTA -------------------------------------------------------------------------------- B13STENE Projects ----------------------------------------------------------- A4SVESTKA, Jiri ------------------------------------------------------------- A14TEAPOT ---------------------------------------------------------------------------------- A15TEZUKAYAMA ----------------------------------------------------------- C31TINT ---------------------------------------------------------------------------------------------- C29V1 ------------------------------------------------------------------------------------------------------------ A7VANE ------------------------------------------------------------------------------------------------ B1VERNON ------------------------------------------------------------------------------ C10WHATIFTHEWORLD ------------------------------------ A20WIDMER +THEODORIDIS ------------------- A19
Viva VOLTA9 ! 74 international exhibitors — representing Europe and the Americas, plus the Middle East, South Africa, and East Asia — light up the industrial Dreispitz Areal this June, with 58 galleries returning from previous VOLTA editions.
Hamish Fulton (espaivisor – Galería Visor, Valencia) has created a signature Limited Edition for VOLTA9 . The London-based “Walking Artist” has participated in numer-ous museum and gallery exhibitions throughout his illustrious career, including Ends of the Earth (MOCA, Los Angeles, touring to Haus der Kunst, Munich) in 2012, and A Trip From Here to There, currently on view at MoMA, New York. In Fulton’s own words: “my self-imposed rule is: I only make art about the particular walks that I have experienced. This means: every artwork I make must include a walk text. Why words? Words can exist in any size and are independent of any one medium or lan-guage. Walks are the kilometre stones of my life. Each walk marks the flow of time between birth and death”.
The Schaulager, Münchenstein/Basel’s open-warehouse contemporary art museum designed by renowned Swiss architectural firm Herzog & de Meuron, reopened in March with British video artist and filmmaker Steve McQueen’s expansive mid-career survey. A 10-minute walk from Dreispitzhalle on Ruchfeldstrasse, the Schaulager signals another must-see destination for VOLTA9 visitors. Plus, literally around the corner from VOLTA (on Oslostrasse) are a corridor of creative spaces: OSLO8 hosts the solo exhibition From the Island for Czech photographer Jiri Makovec; British artist duo Semiconductor stage their video works and complex installations in Let There Be Light at Haus für elektronische Künste, their debut solo show in Switzerland; and the talented artists of international exchange program iaab partici-pate in Going Places, with a special reception until 8 pm on Wednesday, June 12.
Finally, we would like to thank our partners for their continued support, particularly our Official Media Partner GalleryLOG, who enthralled VOLTA NY visitors with their aesthetic acumen and smartly edited videos, and our ‘mind and body’ spon-sor Aesop.
For those of you who have been been with us these great nine years and for first-time visitors to Basel — and for the many, many of you who fall somewhere in between — thank you! We are thrilled for the high level of talent assembled by our gallery family this year, and we are confident that you will love what you see.
Enjoy the show!Amanda Coulson and Team
VOLTA 9 STAFF
Artistic DirectorAmanda Coulson
Managing DirectorChris De Angelis
Project ManagerKerstin Herd
Project CoordinatorRachel Mijares Fick
Press ManagerBrian Fee
Production AssistantYorick Tanner
FoundersKavi GuptaUli VogesFriedrich Loock
OFFICIAL MEDIA PARTNER
SPONSOR
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532 GALLERY THOMAS JAECKEL“Once again, I am playing with the symbolic status of painting and its capacity to, at once, monumentalize and trivialize human drama.”— Armando Mariño
The ethical dilemma implied by the aestheticization or domestication of a violent event — from the moment it becomes “breaking news” and is converted into art through painting — constitutes the axis of Armando Mariño, one of the most promi-nent Cuban artists from his generation.
Mariño lives and works in New York. Works in Public Collections include: Deutsche Bank Collection USA; 21cMuseum, Kentucky; Shelley and Donald Rubin Private Collection, New York; Howard Farber Collection, New York; Centro Wifredo Lam, Havana; ART/OMI Residency, New York; ASU Art Museum, Arizona; University of Virginia Art Museum; Rijskakademie van beeldende kunsten, Amsterdam; Museo Nacional de Bellas Artes. Havana; Stichting Oce Kunstbezitp. Venlo; Arttoteek Den Haag, Holland.
Nadja Verena Marcin is a New York-based German performance artist. Internation-ally recognized as a premiere emerging New Genre artist, she focuses on human behavior, elemental emotions, and psychological responses linked to role-playing through video, performance and photography.
MFA from Columbia University, New York after graduating with honors from Academy of Fine Arts, Münster. Marcin’s creations are exhibited in museums, art spaces/gal-leries and distinguished collections worldwide: ZKM- Center for Art and Media, 2012; DAAD, New York, 2011; “Qui Vive?” Moscow International Biennale for Young Art, Moscow MOMA, 2010; ARTWORK international, Inc. Grant, 2010; Salon/Screening, ICA Philadelphia, 2010; Uncontrollable Flesh, Berkley Art Museum, 2010; Short-Term Deviation, Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Museum, 2009; Videonale 11 & 10, Kunstmuseum, Bonn; Mediations Biennale, Poznan, 2008; Models of Self-Reflection, AZKM, Muenster, 2008; FIFA-Festival pour Film sur L’Art, Montreal, 2008; EJECT-Ex teresa arte actual, Mexico City; Fulbright Award, 2007; and Jumpnights, Ludwig Museum, Cologne, 2007.
WEBSITE
www.532gallery.com
PHONE
+1 917 701 3338
CELL
+1 917 701 3338
CONTACT NAME
Thomas Jaeckel
EXHIBITED ARTISTS
Armando MariñoNadja Marcin
OTHER REPRESENTED ARTISTS
Per AdolfsenPeggy BatesTatjana BuschDiana CopperwhiteGerrard EllisIan HughesJohn A ParksHendrik SmitStefan SzczesnyRachel Valdes
COVER
Armando MariñoHavana Riders2012Oil on Canvas60 × 108 in
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Armando MariñoI am Free2013Oil on paper30 × 40 in
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Nadja MarcinLast Mohican2013C-print50 × 60 in
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ADN GALERÍAADN Galería proposes a selection of artworks by the artists Carlos Aires (b. 1974, Spain), Abdelkader Benchamma (b. 1975, France), Mounir Fatmi (b. 1970, Morocco) and Adrian Melis (b. 1985, Cuba).
The proposal shows three different methodological approaches: semiotic reactiva-tion and symbolic shift (Aires and Fatmi); literary (Benchamma); social ethnography and analysis of production dynamics (Melis). Aires and Fatmi give a seman tic turn to established icons, values and meanings by recontextualizing ready-made raw mate-rial. Benchamma recreates a personal narrative inspired by literature, so ciology and theories of astrophysics and cosmology. He internalizes issues about matter and its transformation, the nature of objects and their evolution, the human condition in the natural medium. Contrarily, Melis’ practice expands to the exte rior, involving common people in the development of his projects. Melis converts his artistic role of creator to a sort of conductor. The final outcome strictly depends on the partici-pation of “actors” where the artist controls and directs the different phases of the realization process.
ADN Galería was founded as a hybrid platform between commercial mediation and cultural contribution aiming at promoting current artistic ideas and trends. The pro-gram focuses on content-based productions that work as a semantic reflection of the contextual dynamics in which they emerge.
Transcending our role in the market, we commit to the artists to build international networks of appreciation and to make possible a strong backing for their careers, thanks to an active policy of media coverage, on-line communication and participa-tion at art fairs. Our policy of collaborative work with intellectuals and profession-als of the art world allows us to improve our program and the promotion of current practices in the field of visual arts. We contribute to create and give support to new collectors through professional and in-depth counseling.
In June 2013 ADN Galería will inaugurate ADN Platform, consolidating the cultural contribution of the gallery as a platform for exhibition projects generated by an open call for curators, performances, public programs exploring the rapport between art and society as well as artists residencies.
WEBSITE
www.adngaleria.com
PHONE
+34 934 510 064
CELL
+34 68 752 8625
CONTACT NAME
Miguel Angel Sánchez
EXHIBITED ARTISTS
Carlos AiresAbdelkader BenchammaMounir FatmiAdrian Melis
OTHER REPRESENTED ARTISTS
Virginie BarréTobias BernstrupSantiago CirugedaDEMOCRACIAIgor EškinjaDaniel & Geo FuchsChus García-FraileNúria GüellEugenio MerinoBruno Peinado
COVER
Carlos AiresDe Natura Deorum (detail)2013Installation140 × 150 cm aprox.
INSIDE
Mounir FatmiNoir sur Noir2013Photography50 × 70 cm
BACK (LEFT)
Adrian MelisThe Value of Absence2009 – 2013Installation96 × 55 × 80 cm aprox. (table), 10'20" (video duration)
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Abdelkader BenchammaMaquette jumelle2012Drawing130 × 90 cm
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ALARCÓN CRIADOALEJANDRA LAVIADA (b. 1980, México) examines the processes of construc-tion-destruction in Mexico City. She constructs and photographs ephemeral in-stallation-sculptures that she creates on site in abandoned buildings, using the ordinary objects left behind. Laviada leads us to modify our perception of reality; objects lacking in conceptual or formal identity serve to relate object (memory of the place), sculpture (the transformation of these elements into the mere disposi-tion of themselves), and image (that is the final visual basis which remains through the medium of photography). In Forest Interventions, in which her reflection on the image and its relation to similar disciplines abandons interiors in order to develop a dialogue with nature.
JOSÉ GUERRERO (b. 1979, Spain) The formal question from which his work derives is the expression of human action in urban border areas, looking into the process of urban expansion and the seasonal cycles that these processes change. His work is structured in thematic series of signs that have to do with toponymy. Despite the singularity of the artist’s visual scheme, constant unfixed readings arise among his works, so that they ultimately suggest a kind of neutral space, devoid of identity, impossible to clearly associate with a specific geographic context. He presents his last work To Come Back.
NICOLAS GROSPIERRE (b.1975) is a French and Polish citizen. His university education focused on political and social sciences, which bears a strong influence on his work. Grospierre´s work that will be on display at VOLTA is 2D-3D, originally part of the W-70 project, an exhibition that “focused on concrete block housing as one of the gravest consequences of Modernist architectural thought”, and its em-bodiment in Poland. Using the photographed prefabricated modules as “raw ma-terial”, he created visual and spatial situations where the viewer could appreciate the concrete blockhouses from different perspectives (literally and metaphorically).
WEBSITE
www.alarconcriado.com
PHONE
+34 954 22 16 13
CELL
+34 657 18 15 95
CONTACT NAMES
Carolina B. AlarcónJulio Criado
EXHIBITED ARTISTS
Alejandra LaviadaJosé GuerreroNicolas Grospierre
OTHER REPRESENTED ARTISTS
Clara G. OrtegaEmilio Gañan François BucherJorge YereguiJulie RiveraMartín FreireSimón Zabell
COVER
Nicolas Grospierre3D-2D (from the W70 project)2007Three-dimensional photographic wallpaper240 × 230 × 220 cm
INSIDE
José GuerreroMonument Valley20117 Photographs (set). Archival pigment prints43 × 56 cm / 17 × 22 in each
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Alejandra LaviadaGalaxia. Forest Interventions.2012Inkjet print on luster photographic paper140 × 110 cm
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ANNA NOVA ART GALLERYSTAS BAGSBath (installation for Sculpture Space 3)
The major role in molding Stas Bags’ artistic view is graffiti, which the artist has been engaged in for 12 years. Afterwards, his interest switched from graffiti’s dynamic art to technological installations. His top priority tasks became the principal method of Milk and Vodka art group, organized by Bags in 2002. As a graduate of Human Physiology and Anatomy Faculty, there is an aspiration to dissect everything that evokes creative interest. Frequently that brings the artist to recreate new construc-tions from reduced parts.
In the installation Bath, Bags makes a whole unique space, part of which exist separately from one other in their own line, while at the same time supplementing each other. Bags’ general idea is the creation of a state lasting in time. But this is not a chase of lost time, nor is it an attempt to reflect simultaneity or contempo-raneity. In many projects, the time-capsule effect is achieved by the juxtaposition of life and death categories. This is seen in monochromatic paintings, and in han-dling the objects that provoke patho-anatomical connotations: freezing cameras, ovens, barrows.
DENIS PATRAKEEVUntitled (lightboxes from the series Reconstructor)
“In my work I use sacred things such as: milk, dental moulds, blood, light, concrete; these materials make me quiet, I’ m losing my ‘ego’, and at the same time I’m tell-ing a very private story (I grew up in a family of dentists so I used to play with dental moulds, dentures when I was a child). This unique balance is maintained by the im-age of a museum-temple, where the foundations of a crossroad are, the third path are laid, so there’s a possibility not to fit into the suggested format, but to go your own way” — Denis Patrakeev
WEBSITE
www.annanova-gallery.ru
PHONE
+7 812 275 9762
CONTACT NAMES
Anna Barinova (owner)Marina Vinogradova (art director)
EXHIBITED ARTISTS
Stas BagsDenis Patrakeev
OTHER REPRESENTED ARTISTS
Alexander DashevskiyJury AlexandrovBob KoshelokhovIvan PluschPetr ShvetsovHaim SokolArt group SOAPVlad KulkovAndrey KuzkinIrina Drozd
COVER
Denis PatrakeevUntitled (detail)2012Lightbox60 × 60 cm
INSIDE
Stas BagsBath2013Installationvariable
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ARANAPOVEDA GALLERYARANAPOVEDA since 2010, internationally confronts established contemporary artists with emerging positions. Our artists are in major private and institutional col-lections and museums. Our goal is to provide a new setting of contemporary art and deliver the finest international artists’ messages to a wide audience of new and established collectors.
The curatorial project presented at VOLTA contrasts Susanne Themlitz (2012 Bro-cense Art Award winner) with Chilean Ignacio Bahna (first time shown in Basel) and stop-motion and graphite works by young Rosana Antolí (currently featured at the DA2 Museum curated by Paco Barragán).
Susanne S.D. Themlitz (b. 1968, Germany) presents parallel worlds, landscapes populated by strange, straying creatures. In the vastness of this fantastic landscape, creatures, hydrocephaly, organs, snails, mosquitoes, cactuses, and mushrooms cre-ate mystifying relations. The images echo Hieronymus Bosch or Max Ernst’s vision-ary spaces. Realistic graphical forms appear side by side with formless color fields. The point of view is continuously displaced. The coherence of the perspective is shattered. The colors become autonomous, like color excrescences and clusters, or break free in a multitude of shades. Themlitz brings drawing into the realms of collage and painting with great ingenuity.
Rosana Antolí’s (b. 1981, Spain) work is about the inherent lack of feeling in her generation, which she expresses through painting, drawing and stop-motion videos, ephemeral and fragile materials like graphite and paper. “Avoidance” as a funda-mental part of human condition, portraits of “the eternal youth” of her generation, representing “players”, characterized by bringing “the game” to every aspect of their life, in a journey into our animal or irrational impulsions, the regression away from civilized habits, a reflection of her own life.
Ignacio Bahna (b. 1980, Chile). Geographical and social damages, affecting all those who inhabit the planet is one of the fundamental pillars of his work. It is an aesthetic appropriation of the environment to a morphological cohesion through the use of wood in all of his artworks. Objectively aesthetic and conceptual, based on the use of “pure” materials, more than 20 different types of wood are at the origin of his sculptures.
WEBSITE
www.aranapoveda.com
PHONE
+34 91 389 6073
CELL
+34 69 998 5324
CONTACT NAMES
Juan AranaChristina Poveda
EXHIBITED ARTISTS
Ignacio BahnaSusanne S.D. ThemlitzRosana Antolí
OTHER REPRESENTED ARTISTS
Grimanesa AmorósJavier ArcenillasIgnacio LlamasGuillermo Martin BermejoRita MagalhaesRebeca MenendezFelipe Ortega RegaladoGema Ruperez
COVER
Susanne ThemlitzOh!2013Acrylic and graphite on offset engraving reproductions, oil on paper, glass, magnifying glasses, and table16 × 90 × 50 cm
INSIDE
Ignacio BahnaOnda Expansiva2012Assembled different woods220 × 70 × 70 cm
BACK
Rosana AntolíPolyptych2013Graphite and ink on paper180 × 90 cm
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MARTIN ASBÆK GALLERYThe presentation will be a total installation consisting of large-scale charcoal draw-ings mounted directly on the wall, handmade lace head-covering next to acrylic and mixed materials on canvas and finally new photographs.
Cathrine Raben Davidsen (b. 1972, DK) is known for her painterly personifications where she balances minutely detailed line drawing with dissolved, blurred contours and intense patches of colour. She draws on a wide range of literature and art his-torical references, narratives and mythological material. Her works for VOLTA will be intense, dramatic charcoal and ink drawings that will give a contrast to Tjorg Douglas Beer’s more unpredictable, spontaneous and profoundly original an unique expression. The idiom of Beer’s works is colourful and raw, with both figurative and abstract elements.
Tjorg Douglas Beer (b.1973, DE) is one of the most striking talents of his generation, and his artistic expression ranges wide. Installation projects, sculptures and espe-cially work with painting in an expanded field are explored. Both Beer and Davidsen’s works are a personal sampling of impression from everyday life with inspiration from popular culture, social and political aspects and many everyday impressions from Berlin, Hamburg and Copenhagen.
The third artist Nicolai Howalt (b.1970, DK) recently visited the Medical Museion in Copenhagen to research for a new project — out came this photographic series Light Break. The series is about light as a healing effect. With an outset in Nobel lau-reate Niels Finsen’s light therapy, Howalt examines visual traces from the ultraviolet rays that a patient was treated with. By leading the light rays through rock crystal prisms, Finsen and his team treated a number of otherwise incurable diseases. To follow the progress of the patients, there were made a moulage of their face. These masks are saved at the museum and now photographed by Howalt.
WEBSITE
www.martinasbaek.com
PHONE
+45 33 15 40 45
CELL
+45 2681 2887 (Jul ie)+45 4075 8616 (Mar tin)
CONTACT NAMES
Julie Ouottrup SilbermannMartin Asbæk
EXHIBITED ARTISTS
Cathrine Raben DavidsenNicolai HowaltTjorg Douglas Beer
OTHER REPRESENTED ARTISTS
Elina BrotherusBerta FischerAstrid Kruse JensenEva KochMartin LiebscherSofie Bird MøllerMatt SaundersTrine SøndergaardEbbe Stub WittrupClare Woods
COVER
Tjorg Douglas BeerAufklärung threatened by dark powers2013Acrylic paint, marker, ink on canvas50 × 40 cm
INSIDE (LEFT)
Tjorg Douglas BeerRiding on your Chakra2013Acrylic paint, marker, lacker, ink on canvas150 × 120 cm
INSIDE (RIGHT)
Tjorg Douglas BeerBlack Swan2013Different materials, paint, copies, cardboard on aluminum80 × 60 cm
BACK
Cathrine Raben DavidsenThe Curtain2013Charcoal on paper135 × 135 cm
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ASPNIn recent years Johannes Rochhausen has been painting barely any other subject than his own studio. Through the repeated close scrutiny of the same space and the continued invention of new answers and compositions, it becomes apparent how preliminary and dependent on the given perspective these answers remain in terms of perception. As a thesis of artistic practice, functionally closed spaces are imma-nent to the production of art in general. Yet in a slightly more abstract sense, the circumstances of material and approach within contemporary reality illustrate that any artistic action is shaped by its contexts. On the level of production, in particular in the sense that any artistic work requires a point of departure, neither the “picture as such”, nor an interest without preconditions do exist. To a high degree, the works of Rochhausen focus on precisely this hypothetical closeness of the subject of inter-est, thus raising questions about the elementary meaning of artistic work in general.
Jochen Mühlenbrink is known for his figurative paintings of everyday objects and sit-uations, in which disasters, accidents or the threat of emergency occur. Mühlenbrink utilises elements of minimalism and surrealism to paint our perception of modern times. Both the perception of time as well as pictorial themes are important subject matters for Mühlenbrink. In his new conceptual works, Mühlenbrink’s trompe-l’oeils play a subtle game with art history and painting culture in particular. What we see are a series of paintings from behind — we see the stretchers and staples at the edge of the canvas. This work flirts with modernist minimal art by focussing on the monochrome gaps between the tape and the tape itself (also an important tool in minimal art). Finally, there’s a series of sculptures and painted cardboard boxes that are taped shut. Post packages, sent around the world — a series harking back to Christo and the legacy of surrealism.
WEBSITE
www.ASPNgalerie.de
PHONE
+49 341 960 00 31
CONTACT NAMES
Arne LindeCarolin Nitsche
EXHIBITED ARTISTS
Jochen MühlenbrinkJohannes Rochhausen
OTHER REPRESENTED ARTISTS
Benjamin Appel FAMEDGrit HachmeisterEdgar LeciejewskiJochen MühlenbrinkJochen PlogstiesMatthias ReinmuthRobert SeidelKatsutoshi YuasaArthur Zalewski
COVER
Jochen MühlenbrinkCoast to coast (NOSW Mittelformat)2012Oil and acrylic on wood170 × 140 cm
INSIDE
Johannes Rochhausen1486 Atelier Edgar Leciejewski.2012Crayon, charcoal, ink on paper150 × 200 cm
BACK
Jochen MühlenbrinkMalerkoffer2012Oil on canvas, 7 parts, hinges170 × 220 cm
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ATHR GALLERYAfter having lived and studied abroad for a number of years, Sami Al Turki made the decision to return and settle in his home country of Saudi Arabia, a desert country that mainly consists of nothing but empty land.
During the main move from nomadic living to urbanisation during the 70’s, an en-tire generation of people built their homes on empty land. This tradition of building your dream home continues to this day and the cities are littered with house upon house of every different style of architecture imaginable, some might resemble the White House and others a space ship, all testaments to a land where your home constitutes the realisation of your fantasy. The majority of ones life will be spent within those walls.
While land remains a plentiful commodity, it has become an almost entirely inac-cessible one. Anywhere else in the world, land is acquired for the purposes of de-velopment. However, in Saudi Arabia, land is being traded as a commodity in itself; people only buy land in order to sell it again for a significant profit.
In Barzakh, an Arabic word that alludes to a state of in-between, Al Turki depicts unfinished architectural structures that are suspended amidst the clouds; an hom-age to a dream that is drifting farther and farther, not just out of his reach, but out of the reach of an entire generation and class of people. While appearing as a fan-ciful gesture, the work can also be seen as a stark depiction of mankind’s capacity for greed, the artist suggests that if it were possible to own the sky and build walls declaring that ownership, mankind would do so.
By removing these structures from their usual context and placing them in the heav-ens, the artist is using the unlikelihood of the image to remind us that despite all our earthly wealth and possessions, these things will not accompany us into the hereafter, thus putting into perspective the absurdity of fighting over grains of sand in a land of abundance and where land is abundant.
WEBSITE
www.athrart.com
PHONE
+966 2 284 5009
CELL
+966 56 865 8888
CONTACT NAME
Maya El Khalil
EXHIBITED ARTIST
Sami Al Turki
OTHER REPRESENTED ARTISTS
Ayman Yossri DaydbanAhmed MaterNasser Al SalemJowhara Al SaudBasmah FelembanHazem HarbIbrahim AbumsmarSara AbduSaddek WasilRaouf Rifai
COVER
Sami Al TurkiBarzakh 08 from the Barzakh series2013Framed photographic enlargement on archival paper121 × 131 cm
INSIDE
Sami Al TurkiBarzakh 03 from the Barzakh series2013Framed photographic enlargement on archival paper120 × 180 cm
BACK
Sami Al TurkiBarzakh 05 from the Barzakh series2013Framed photographic enlargement on archival paper120 × 180 cm
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BALZERARTPROJECTSbalzerARTprojects presents a collaborative enterprise of Nici Jost, Andreas Bauer, and Nicolas Kerksieck focusing upon the dichotomy between reality and fiction in architecture. Chronologically and culturally, the project harks back to individual and collective memories, stressing a critical analysis of traditional values, contemporary urbanism and individual lifestyles. Key is the contemplation upon architectural and natural environments, aimed to work with utopian solutions to urban architectural dilemmas.
The project deals with architecture and space as phenomena of power. The result is a solution-oriented narrative without proposing concrete solutions as it centers upon proposing strategies, which can be developed further by the viewer. In this project, the artists generate a continuum between our here and now, our space and time and the time and space of others.
Andreas Bauer (b. 1980) questions the process of objectification, yet establishes his own objectified/aesthetic presence. In his photographic work, a bridge is built be-tween photography, sculpture and performance. While creating surreal urban land-scapes, he redefines space/environment/landscape/human surroundings by dis-secting the human and urban matrix, aiming at a “deconstruction of urban spaces”.
The essential element of Nici Jost’s (b. 1984) work is the exploration of the sublime tensions between technology and nature, space and perception, identity and image. Questions are provoked about the broader, often disquieting, implications of our ever-accelerating technological evolution and the position of the individual within. Jost pushes the boundaries between reality, fantasy and fiction, making the viewer re-evaluate his natural and conceptual reference models, as he enters imaginary, yet surprisingly real worlds with intense colors and surreal perspectives.
Nicolas Kerksieck (b. 1977) works in several different areas: in the public space as action, interferences and interventions. He also explores the “traditional process of building sculptures” that is, he questions the sculptural process and its inherent fallacies. Thematically, he explores topics of identity and existence. His investiga-tive processes often lead the performer/investigator/artist – and consequently, the viewer – into absurdity and excesses of self-questioning. He encourages the viewer to physically seek confrontation with his work while establishing an emblematic and multifaceted investigation into the nature of art.
WEBSITE
www.balzer-art-projects.ch
PHONE
+41 61 222 2152
CELL
+41 79 229 3306
CONTACT NAME
Isabel Balzer
EXHIBITED ARTISTS
Andreas BauerNici JostNicolas Kerksieck
OTHER REPRESENTED ARTISTS
Tom FellnerSarah FrostGeorgine IngoldVera IslerSebastian MejiaMimi von MoosAngelika Schori
COVER
Nici JostUnder the Green Grass2012Audiovisual Installation40 × 48 × 44 cm
INSIDE (LEFT)
Andreas BauerSteilvorlage2012Dry WallInstallation
INSIDE (RIGHT)
Nicolas KerksieckHeimwerkerkathedrale2011Wood160 × 80 × 280 cm
BACK (LEFT)
Nici JostBehind Hedges2013Video Object with Sound30 × 14 × 12 cm
BACK (RIGHT)
Andreas BauerEat Drink Shop 3 (detail)2013Scan of Book Cut-Out140 × 120 cm
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GALLERY BASTEJSGallery Bastejs (Riga, Latvia) has focused on the cultural exchange between Baltic States, representing artists from Estonia, Latvia and Lithuania. The gallery works closely with its represented artists, providing artworks for the collectors and insti-tutions, and also organizing various cultural events.
Ritums Ivanovs is a Latvian painter whose practice uses precise hyperrealist de-piction of the real and bright polychromatism typical of OP Art. Working in his self-invented linear technique, he paints portraits and nudes on large size canvases. The artist uses a photo as basis for his work but painting itself is hand-made. The main subjects of Ivanovs’ work are human emotions, the different emotional states. In his artwork he portrays people from personal life, photographic images from printed material — such as art history books, show business advertisements, and even material from erotic magazines.
Symbol of Illusion is a body of work where Ivanovs plays with the concept behind the commonly used skull within art.
Art is fascinated by death.
Death is fascinated by art.
From the symbols used in today’s society, skull is a recent one. The use of skull in 17th century Netherlands still life vanitas, was a romanticized symbol of death but it wasn’t the main subject of interest in the particular works.
Today’s art is fascinated by death, artists creating work around the concept of the skull. My interest with this subject came from observing portraits and figures in to-day’s art. “My personal realization of the symbolic meaning of the skull is this — it is the illusion of life and death in one. To me death means everything, in a way the death is life”.
Nowadays the use of this symbol is vague, especially in popular culture, it gets oversimplified neglecting its real meaning.“ In this body of work I want to connect the ideas of symbol and illusion, hence the title of this show “Symbol of Illusion”. (Ritums Ivanovs)
WEBSITE
www.bastejs.com
[email protected]@gmail.com
PHONE
+37 167225050
CELL
+37 129136840
CONTACT NAMES
Baiba MorkaneKrisjanis Morkans
EXHIBITED ARTIST
Ritums Ivanovs
OTHER REPRESENTED ARTISTS
Juri ArrakPeeter AllikJaan ElkenHelena HeinrihsoneIvars HeinrihsonsFranceska KirkeIeva KrauleAnita MeldereJanis NedelaKalvis Zalitis
COVER
Ritums IvanovsCity girl2012Oil on canvas60 × 45 cm
INSIDE
Ritums IvanovsA collage of Symbol of Illusion paintings2012Oil on canvasvariable
BACK
Ritums IvanovsKiss x-rayed2012Oil on canvas115 × 151 cm
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FEDERICO BIANCHI CONTEMPORARY ARTThis project is based on contemporary facets of abstraction: to represent through different media the opportunity to create abstract art: from Jacopo Mazzonelli act-ing on a surface modified with a circular rotary motion, to Alexander Wolff’s fabric paintings, through Radomir Damnjan’s classic acrylic on linen, to Tony Just’s “street” abstract art, to the possibility of abstracting an architectural structure in the paint-ings of Domenico Piccolo, to Giuseppe Armenia’s sculptures of newspapers.
Giuseppe Armenia (b. 1965, lives and works in Turin). He exposed his works in public spaces throughout Europe (Prague, Wien, Budapest, Zurich, Hamburg, Ti-rana, Berlin). He was also a finalist at The Cairo’s Award 2005 in the “Permanente di Milano” space. Installation is his favourite way of expression. His work is based on ephemeral time.
Radomir Damnjan (b.1936, lives and works in Belgrade and Milan). He has partici-pated in the Venice Biennale, Documenta Kassel, Biennale of San Paolo (1st prize 1963), Biennale of Sydney, Quadriennal of Rome. His works are included in many museums, including Centre Pompidou in Paris; SFMOCA; Museum of Modern Art, Belgrade; Guggenheim NY. Paintings, performance and sculpture are his favorite means of expression.
Tony Just (b. 1966, lives and works in Berlin and New York. He exposed his works in several important private galleries around the world: New York, Berlin, Paris, Mi-lan, Zurich, Los Angeles, London. He took part in Greater New York 2005 at PS1.
Jacopo Mazzonelli (b. 1983, Italy) He uses installation and sculpture as his medium of expression, and he combines elements of music, philosophy and art history to cre-ate his works. He is considered the young promise of Italian art and he has already exhibited in various public spaces including a solo show at Galleria Civica of Trento.
Domenico Piccolo (b. 1961, lives and works in Turin). He took part in the exhibition “Impresa Pittura” at Castle Genazzano in Rome about the last 20 years of painting in Italy, and in the 2009 Prague Biennale. His favourite themes are alienated individuals and those who live beyond the boundary of psychological disease.
Alexander Wolff (1976, lives and works in Berlin and Los Angeles). He has partici-pated in numerous exhibitions in Europe and the United States, including Made in Germany 2, and he has exhibited in solo exhibitions in museums in Munster and Lübeck. He expresses primarily through painting and assembly of fabrics.
WEBSITE
www.federicobianchigallery.com
PHONE
+39 02 39 549 725
CONTACT NAME
Federico Bianchi
EXHIBITED ARTISTS
Giuseppe ArmeniaRadomir DamnjanTony JustJacopo MazzonelliDomenico PiccoloAlexander Wolff
OTHER REPRESENTED ARTISTS
Paola Di BelloZuzanna JaninAnna OrlikowskaJacopo PrinaClement RodzielskiBert TheisMagda TothovaJohannes VoglVenera Kastrati
COVER
Jacopo MazzonelliApocalisse2011blackboard slate, wood, magnets, rotary engine128 × 92 × 25 cm
INSIDE
Alexander WolffInstallation view2010wall drawing / collage / paintings on fabricssite-specific
BACK (LEFT)
Radomir DamnjanDrawing1968 / 1978Ink on paper70 × 100 cm
BACK (RIGHT)
Domenico PiccoloOgni Giorno n.142009acrylic and oil on photo paper mounted on a wooden24.5 × 18.5 cm
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GALERIE ANDREAS BINDERHADRIEN DUSSOIXThe world of the media and its influence on Swiss artist Hadrien Dussoix (b. 1975) forms the basis of an art that concerns itself with boundaries, inconsistencies and poetry. Looking at the world around him, including films and TV, the young artist picks up bold and simple messages with succinctly provocative and lyrical content – messages which he then adapts in his paintings. Each message is written in large letters, occupies the entire expanse of the canvas and becomes the central sub-ject while acquiring its own autonomy and going beyond the pure meanings of the words. The written content becomes a painting, and a painting turns into a piece of writing. Dussoix’s works enter into dialogue with the viewer in a variety of ways, for instance when Dussoix composes varnished letters on the canvas, as in “Your best body ever”, “Lips into your hips”, “More bass more riff”, “Bull dogs bull shit” where, because of the material nature of the painting, viewers see themselves mir-rored and thus become part of the work.
ANNA NAVASARDIANNavasardian’s work utilizes the language of portraiture and the tradition of figure painting to obscure the bounds that separate personal and constructed identity. Dy-namic subjects are drafted from sources that include Soviet era family photographs, vintage periodicals, and live models. The resulting characters expose hidden truths and buried layers narrated through vigorous brush strokes and an animated palette.
Navasardian develops themes of identity, adolescence, growth, and memory in creating compositions that explore the multilayered nature of reality. In the Garden series, vibrant palette marks function as fleeting thoughts surrounding a family. The thoughts dissolve in and out of the physical environment, blending into the shrub-bery at one point and melting into a woman’s dress pattern at another. In this way, Navasardian employs the visceral quality of paint to illuminate the invisible elements that surround us.
WEBSITE
www.andreasbinder.de
PHONE
+49 89 21939250
CELL
+49 171 4326335
CONTACT NAMES
Andreas BinderVeronika Binder
EXHIBITED ARTISTS
Hadrien DussoixAnna Navasardian
OTHER REPRESENTED ARTISTS
Jan DavidoffIzima KaoruPhilipp LachenmannMatthias MeyerYigal OzeriDieter RehmJulio RondoThomas StimmRolf WalzPaul Winstanley
COVER
Hadrien DussoixBurn More Fuel2010Mixed-media, Installationca. 170 × 100 cm
INSIDE
Hadrien DussoixInstallation View Art Cologne 20112011Mixed-media, Installation200 × 200 cm
BACK
Anna NavasardianBoys2010Oil and acrylic on canvas122 × 152 cm
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SEBASTIAN BRANDLThe new-old bunk installation with furniture, chairs, tables and cupboards by Franz Burkhardt gives off the nostalgic charm of a dim interior fitting. Handiwork and home craft via hardware and do-it-yourself stores do have their effect: building a room of one’s own probably emanates from the need to stage a defined order at the sight of existing boundless disorder. The artist’s drawings are on the walls; the artist copies from old black and white photographs (like from the ’50s), which he uses as masters. Their presentation in different frames emphasizes their staged decorative, well-nigh furnishing character. The models of trivially appearing spaces created by Burkhardt can be regarded as instruments of exploring time and specific reality, as they sug-gest the possibility of a distanced scheme of a facultative fragment of this reality.
Gerhard Rühm: to my musical mood imagesthe musikalische Stimmungsbilder that have arisen continuously since 2003 can be traced back to four thematically related works from 1972, which formally differ distinctly from the later paper works. although collages from almost three decades later are based on similar material templates — decorative single releases of popular music from the first half of the past century — compared to the loosely improvised “Stimmungbilder”, they show a much more systemic style: shortened parts of the title page are cut in longitudinal stripes and punctuated in normalized distances with minimalist note and text quotes from the issues’ inner sheets. the resultant con-tent creates an irritating effect, but it evokes an overall enclosed impression with each individual rhythm — especially emphasized through the sequence of multiple sheets. the nostalgic attraction of an illustrated subject and the often bizarre and fragmented calligraphy create the characteristic “stimmung” in the individual works.
WEBSITE
www.sebastianbrandl.com
PHONE
+49 221 222 99 793
CELL
+49 178 9252198
CONTACT NAMES
Sebastian BrandlAlexandra Espenschied
EXHIBITED ARTISTS
Franz BurkhardtGerhard Rühm
OTHER REPRESENTED ARTISTS
Timo BehnChristian BergJulia BünnagelKerstin FischerSven FritzHee Jung KangVincent MichéaManfred SchneiderJan StiedingBirgit Verwer
COVER
Franz BurkhardtThe artist’s kitchen in Montzen (Belgium)2012Framed drawings 2012 / 2013; pencil, gouache, indian ink, print on paperSize variable
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Gerhard RühmMusikalische Stimmungsbilder2006 / 2004Collage on cardboard40 × 30 cm each
BACK
Franz Burkhardtsans majonäse s.v.p.2013Pencil, indian ink, PU-lacquer on paper16.5 × 19 cm
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RENA BRANSTEN GALLERYWhile the works of Bovey Lee, Ron Nagle, and Marci Washington appear disparate in both form and content, they are all bound by the artists’ obsessive processes. Viewers are immediately arrested by Lee’s complex cut paper drawings, the vivid colors and combination of textures in Nagle’s sculptures, and the intense tone-on-tone layers in Washington’s watercolors — but equally arresting are the techniques involved.
Bovey Lee uses hand cut Chinese rice paper mounted on silk to form intricate nar-ratives exploring the tension between man and the environment in the context of power, sacrifice, and survival. Updating ancient landscape paintings, Lee cuts away paper to create scenes of cooperation between natural and un-natural forces in unimaginable detail. The intricacies of her lace-like paper pieces boggle the mind especially when one recalls this fine work is cut by hand.
Ron Nagle is a master of the ceramic medium, working in an intimate scale where a sense of power is informed by his choice of color, shape, and surface. Nagle’s fa-mously laborious fabrication process, which sought to achieve the perfect balance of organic and hard-edge abstraction, has recently been augmented by a plastic medium. New works feature glazed ceramic elements on a modeled then cast plas-tic base that allows for luminosity not possible even after thirty glaze firings in his early ceramic works. Nagle’s work is included in the 55th International Art Exhibi-tion at the Venice Biennale.
Drawing from literature, film, fashion photography, and historical events, Marci Washington builds a fictional narrative. What is riveting about her dark dramas be-sides the pallid characters, ominous lighting, and mysterious clues, is the intensity of her palette — many layers are required to build the pitch black that envelops each scene. Her tight rendering of shadows, blades of grass, and light also demonstrate her consummate control of a medium that relies on light from the white ground to define content.
WEBSITE
www.renabranstengallery.com
PHONE
+1 415 982 3292
CONTACT NAMES
Trish BranstenJenny Baie
EXHIBITED ARTISTS
Bovey LeeRon NagleMarci Washington
OTHER REPRESENTED ARTISTS
Ruth AsawaJohn BankstonTony DeLapMatthias Hoch Candida HöferJun KanekoVik MunizAmparo SardTracey SnellingHenry Wessel
COVER
Bovey LeeAtomic Jellyfish2007Chinese rice paper52 × 34 in
INSIDE
Marci WashingtonThe Captive2011Watercolor, gouache on paper30 × 44 in
BACK
Ron NagleTopbana2013Mixed media4 ½ × 5 × 3 in
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BRUNDYN + GONSALVESSanell Aggenbach’s work deals primarily with the intersection of history and pri-vate narratives by considering the process of recall and interpretation. Her work presents a haunting ambiguity characterized by her materially multifarious nature as she moves comfortably between the various disciplines of painting, printmak-ing and sculpture.
Crossfire: Crest (2012) portrays a mountainous landscape painted in a subdued palette. The canvas has been noticeably pierced with aluminum arrows that spread into the area surrounding the work. While these over-sized arrows appear comical at first, the sombre undertone of inherent violence soon becomes apparent. This is a space fraught by the aftermath of an evident mêlée, an allegorical attack on one’s own established beliefs and ideologies. Aggenbach’s exploration of ‘distressed’ landscapes in the South African context is further extended in a series of new monoprints, underlined with issues of ownership, violence, fantasy and obscurity.
WEBSITE
www.brundyngonsalves.com
PHONE
+27 21 424 5150
CELL
+27 83 277 2062
CONTACT NAMES
Elana BrundynIgsaan Martin
EXHIBITED ARTIST
Sanell Aggenbach
OTHER REPRESENTED ARTISTS
Carla LieschingChad RossouwGina HeyerKevin BrandLiza GroblerMatthew HindleyMohau ModisakengPaul EmsleyTom CullbergZwelethu Mthethwa
COVER
Sanell AggenbachCrossfire: Crest2012Wood, aluminium, industrial foam and oil on canvas108 cm diameter, Installation dimensions variable
INSIDE
Sanell AggenbachCrossfire: Crest (detail)2012Wood, aluminium, industrial foam and oil on canvas108 cm diameter, Installation dimensions variable
BACK
Sanell AggenbachOlympus Mons2013Monotype on Hahnemühle Copperplate 300gsm88.5 × 81 cm
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BRUNNHOFER GALLERYTHE ARTISTSAurelia Gratzer de-structures the gander of the spectator. With her multi-perspective and diffuse-patterned paintings of real architecture and design, a new Precisionism is found. With this noticeable style, the young painter already won the Strabag Art Award, was among the Ten Finalist Winners of the West Collection Award, and was nominated for the Anton Faistauer Award.
Andrew Phelps is an American photographer who has lived in Europe since 1990. His work is influenced by the cross-cultural lifestyle he now leads, dividing his time between the deserts of Arizona and the Alps of Austria. His construed-seeming (yet only seeming) photographs are documentations of transformations and cultural de-construction that would mostly stay hidden if there wasn’t his eye for the special.
THE GALLERYThe Brunnhofer Galerie was founded in 1997 by Elisabeth and Stefan Brunnhofer. From the very beginning, the aim has been to support young contemporary art. The Gallery wants to give auspicious young talents the chance to be represented by a serious gallery, throughout the world.
To get the needed and aimed internationality for their artists, they make collabora-tions with galleries in the USA, Germany, Denmark and Portugal, and participate in fairs all over the world: Basel, Berlin, Cologne, L.A., London, Miami, and New York.
With this strategy, Brunnhofer Gallery has been able to celebrate great success with its young artists. They are in important institutional and private collections, spread all over the world, win important awards and grants and get known to a snowball-ing public.
WEBSITE
www.brunnhofer.at
PHONE
+43 732 77 83 21
CELL
+43 664 38 18 104
CONTACT NAMES
Stefan BrunnhoferElisabeth Brunnhofer
EXHIBITED ARTISTS
Aurelia GratzerAndrew Phelps
OTHER REPRESENTED ARTISTS
Lucia DellefantMoritz GötzeIndra.Ronald KodritschPaul KranzlerOliver KropfThomas KühnapfelJennifer NehrbassDiana RattrayChristoph SchirmerMartin SchnurElisabeth Sonneck
COVER
Andrew Phelpsout of the series Baghdad Suite2008C-Print40 × 50 cm (edition 7)
INSIDE
Aurelia GratzerDome2013Acrylic on canvas100 × 150 cm
BACK
Andrew Phelpsout of the series 720 (Two Times around)2010C-Print100 × 127 cm (edition 5) and 50 × 60 cm (edition 8)
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LAURA BULIAN GALLERYThe Kazakh installation and performance artist Said Atabekov (1965), one of the most important artists in Central Asia, began his artistic activity in 1993 as a member of the Red Tractor group, the first artists collective set up in Southern Kazakhstan after the Perestroika. His works have been exhibited in important museums, insti-tutions and Bienniales, and he was featured in the 2011 Venice Biennale (Central Asian Pavilion), Ostalgia at the New Museum (New York, 2011) and Migrasophia at the Maraya Art Center (Sharjah, 2012).
“One of Atabekov’s recent projects, Korpeshe-Flags, includes a photo cycle in which the traditional cushion used in central Asian yurts is transformed into a western national flag. The topographical and symbolic location is once again the Kazakh steppe: its flat, low desert horizon, the absence of traces, the empty, open sky.
Fabric as the sign of State apparatus contrasts with the infinite space, limitless in every direction that is a feature of the steppe. The flag’s closed rectangle forces itself on a space which is open and decentered in its very constitution. Here we do not only find the times of ‘before’ and ‘after’ (monochrome red is also a symbolic sign of the past), we also find an idea of mobility that is typical in nomad culture, a space in continuous variation, in contrast with the concept of sedentary space which assigns fixed roles so as to be governed. The originally plain space appears as though captured between the weaving and texture of a streaked space.
In Said Atabekov the masks of the past never cease to return. But with no intention of returning or reassuring an identity to the various individualities of that which has been. A cot for newborn babies (Besik), a shaman’s equipment, ancient stone idols, felt, a pile of korpeshe on top of a trunk, kokpar — a popular game on horseback, Kyzyl Traktor, the Kalashnikov, the remains of the days of Soviet collective farming, the red star, the American flag, etc. There is a sort of carnival of time on every oc-casion that Atabekov goes on show.
On the one hand, everything returns as though it had been lost, emptied: such are the traditional Kazakh jackets lined inside with military camouflage. But on the other hand, uncovered rituals, unqualified skills, local knowledge that has just resurfaced never cease to erode or tarnish any claim to uniqueness in an absolute, definitive, dominant discourse.” (Marco Scotini, 2011)
WEBSITE
www.laurabuliangallery.com
PHONE
+39 02 48 008 983
CELL
+39 335 60 400 70
CONTACT NAME
Laura Bulian
EXHIBITED ARTIST
Said Atabekov
OTHER REPRESENTED ARTISTS
Elisabetta Di MaggioGulnara Kasmalieva & Muratbek DjumalievAlimjan JorobaevAnastasia KoroshilovaTaus MakhachevaMarat RaiymkulovAndrei RoiterEve SussmanDavid Ter-OganyanYeleva Vorobyeva & Viktor Vorobyev
COVER
Said AtabekovSteppenwolf2011Giclée print on canvas107 × 70 cm
INSIDE
Said AtabekovKorpeshe Flags #05, #07,#12, #042011C-print67 × 100 cm
BACK (LEFT)
Said AtabekovWelcome to the American sector #022009C-print60 × 90 cm
BACK (RIGHT)
Said AtabekovWay to Rome #022007C-print50 × 65 cm
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CHAPLINIPhilip Seibel (b. 1980 in Hagen, lives and works in Düsseldorf) began his educa-tion with a luthier apprenticeship from 2000 to 2003. Until 2011 he studied art at Kunst akademie Düsseldorf, Germany. In 2012 he received the „EHF-Stipendium“ from the Konrad-Adenauer-Stiftung in Berlin.
Solo Exhibitions (Selection)2013: „Totale 06“, Maschinenhaus Essen; 2012: „Erkennung eines Lächelns“, with Lukas Schmenger, Collection Philara e.V., Düsseldorf; 2011: „Die Lügnerin“, with David Ostrowski, Format:C, Düsseldorf.
Main Group Exhibitions (Selection)2013: “Viola Bittl, Stef Heidhues, Philip Seibel”, Eigen+Art Lab, Berlin, Germany (September); „Bischoff, von Monkiewitsch, Seibel“, CHAPLINI , Cologne, Germany; „Modern and Compact Atmosphere“, studio1.1, London, UK; 2012: „Forget the words“, Numberthirtyfive / Cindy Rucker Gallery, New York, USA; „Ein Überblick“, Adenauer Stiftung, Berlin, Germany; „Ich wittere Morgenluft“, KIT, Düsseldorf, Ger-many; „No.1“, McKinsey & Company, Düsseldorf, Germany; 2011: „Schöne Wah-rnehmung“, curated by Gertrud Peters, Temporary Gallery, Cologne, Germany
With his series of wooden panels, Philip Seibel (born 1980) transforms pictures into objects. Coming from painting, Seibel creates a symbiosis with sculpture. His ob-jects feature polished, high-gloss surfaces layered over partially lacquered veneers. The grain of the veneer serves as a painterly base and thus raises the question if the visibility of the interventions is necessary to perceive a picture as a painting.
Seibel’s sculptures and panels are bound neither to a specific time nor a specific place. They seem at times like “diamonds from outer space”, or awakened from a deep slumber from times gone by. Any attempt at categorization is immediately deflected by the objects’ polished surfaces. Ornamental structures glimmer gro-tesquely on the faces of amorphous formations. Radiating from amber-colored lacquer panels is the glow of colliding stars that implode within the picture’s core.
WEBSITE
www.chaplini.com
PHONE
+49 221 17919688
CELL
+49 151 24034477
CONTACT NAME
Berthold Pott
EXHIBITED ARTIST
Philip Seibel
OTHER REPRESENTED ARTISTS
Ralf DereichMax FrintropBehrang KarimiNadja NafeUwe SchinnJohanna von Monkiewitsch
COVER
Philip SeibelTafel Nr. 8 (detail)2013MDF, wooden veneers, lacquer140 × 90 cm
INSIDE
Philip SeibelRolle mit Band2012Plastic, wooden veneers, lacquer, belt strap24 × 11 cm
BACK
Philip SeibelTafel Nr. 72013MDF, wooden veneers, lacquer70 × 50 cm
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CHARLIE SMITH LONDONDAS UNHEIMLICHEIn 1919 Sigmund Freud published his essay The Uncanny, which led on from Ernst Jentsch’s 1906 text On the Psychology of the Uncanny. Beginning with a linguistic appraisal of the uses of the words heimlich and unheimlich in the German language, Freud outlines the roots and meaning of the terms. Heimlich, we are told, means the familiar, the homely. Its antonym unheimlich means unease, fear, horror, eerie or the uncanny. But importantly heimlich can also be read to mean concealed or hidden. And herein lies the key to the uncanny – it is something that is strange but familiar; hidden but apparent, otherwise termed as cognitive dissonance.
The selection of artists that we are presenting at VOLTA9 is based on the strong and underlying sense of the uncanny within their work. Combining painting, draw-ing, sculpture and video, the presentation is curated in order to create an experi-ence for the audience that is simultaneously compelling and unsettling, where the familiar is employed in order to unlock the peculiar.
WEBSITE
www.charliesmithlondon.com
PHONE
+44 20 7739 4055
CELL
+44 7958 931 521
CONTACT NAME
Zavier Ellis
EXHIBITED ARTISTS
Tom ButlerEric ManigaudWendy MayerAlexis MilneJohn StarkGavin Tremlett
OTHER REPRESENTED ARTISTS
Emma BennettKiera BennettSam JacksonSarah McGinityAlex Gene MorrisonGavin NolanDominic Shepherd
COVER
Wendy MayerDuck Rabbit (Rabbit)2012Mixed media78 × 48 × 21 cm
INSIDE
Eric ManigaudKlinikum #82011Pencil & graphite powder on paper137 × 180 cm
BACK (LEFT)
John StarkInterior View2013Oil on wood panel31 × 35 cm
BACK (RIGHT)
Gavin TremlettAmusement 102010Oil, charcoal & graphite on paper49 × 39 cm
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ETHAN COHEN NEW YORKGLOBAL DOMESTICITYHere we will show three different artists from three different cities with three different art practices. The visual idiom in each artist’s practice is unique – one artist deals in fabric, one paints, and one works in wood. Distinct, yet all share a common thread in dealing with the environment that surrounds them.
Michael Zelehoski comes from Beacon, NY. Michael focuses on collapsing 3D ob-jects and structures into the picture plane. These found, utilitarian objects are deconstructed and cut into sometimes hundreds of fragments before being reas-sembled two-dimensionally. “I am able to create works that are picture, relief, and object in one.”
Liu Xiaohui lives and works in Beijing. His work celebrates the domesticity of life, and seemingly ordinary situations. He creates large, asymmetrical grids of vignettes, and in creating so many on one piece, the mundane and overlooked become fascinat-ing. A woman preparing dumplings in her kitchen becomes a story and vacuuming a living room is epic.
Orly Cogan resides and works in NYC. Her work delves into the mythologies of her memory, and in doing so depicts ordinary relationships and commonalities in fantastical ways. Cogan works with embroidery on vintage and painted fabrics, a traditionally female art form. She subverts the idea of Angel in the House by stitch-ing nude self-portraits while vacuuming, or presenting herself nude and pregnant above a home surrounded by a floral motif. A work called Saturday shows Cogan sitting nude on a vacuum while holding a mug and plate.
Despite the difference of sex, nationality, media, and studio environment, Zelehoski, Liu and Cogan’s portrayals of the mundane have given us a fresh eye in which to experience their lives’ surroundings. We offer a visual conversation of Global Do-mesticity.
ETHAN COHEN NEW YORK specializes in emerging contemporary art, with a sub-specialty in contemporary Chinese art. The gallery has two new locations in Chelsea, NYC and Beacon, NY.
WEBSITE
www.ecfa.com
PHONE
+1 212 625 1250
CONTACT NAME
Ethan Cohen
EXHIBITED ARTISTS
Orly CoganMichael ZelehoskiLiu Xiaohui
OTHER REPRESENTED ARTISTS
John AslanidisJoseph AyersMina Cheon aka Kim Il SoonFang LijunHuang YanQi ZhilongQin FengUshio ShinoharaTang HuiAya Uekawa
COVER
Orly CoganSaturday2006embroidery thread on fabric27 × 19 in
INSIDE
Michael ZelehoskiLoveseats2010assemblage with deconstructed chairs and painted plywood24 × 37 in
BACK
Liu XiaohuiHoliday2011acrylic on canvas20.87 × 18.11 in
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CONNERSMITH.Leo Villareal is internationally known for creating large scale site specific works — such as The Bay Lights (2013), the world’s largest LED light sculpture, which spans the 1.8 mile Bay Bridge in San Francisco; and the 200-foot interior installation, Multiverse (2008) in the permanent collection of the National Gallery of Art, Wash-ington, DC — as well as more intimate light sculptures — such as Field (2007), in the permanent collection of the Museum of Modern Art, New York, and Scramble (2011), which was recently acquired by the Phillips Collection, Washington, DC.
Villareal introduces temporal actions of light into traditional abstract imaging, using LEDs (light emitting diodes), custom software and sequencing. With these new me-dia the artist explores, in single digital sculptures, extensive frameworks produced in serial paintings, such as the colorful concentric squares in Frank Stella’s Scramble series. Villareal activates familiar static forms, changing their color, definition, inten-sity, and duration. His imagery unfolds gradually, as if revealing the live application of pigments, a process that color painters of the 1950s and 60s concealed in their canvases. As Villareal reconsiders post-painterly forms and colors, he re-concep-tualizes the art historical category of abstraction and updates the modern aesthetic with digital color-field imaging.
WEBSITE
www.connersmith.us.com
PHONE
+1 202 588 8750
CONTACT NAMES
Leigh ConnerJamie Smith
EXHIBITED ARTIST
Leo Villareal
OTHER REPRESENTED ARTISTS
Janet BiggsZoe CharltonMary CobleMaria FribergKatie MillerJulie RobertsLisa RuyterErik Thor SandbergKoen VanmechelenWilmer Wilson IV
COVER
Leo VillarealInvisible Hand (detail)2012light emitting diodes, mac mini, custom software, circuitry, wood, plexiglas34 × 34 × 6 in, ed: 5
INSIDE
Leo VillarealScramble (2’)2012light emitting diodes, microcontroller, custom software, circuitry, wood, plexiglas24 × 24 in, ed: 10
BACK
Leo VillarealLittle Bang2008200 light emitting diodes, microcontroller, circuitry and anodized aluminum24 in diameter, ed: 5
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DILLON GALLERYDILLON GALLERYDevoted to the representation of international contemporary artists in a variety of mediums, the gallery exhibits established, mid career, and young emerging artists whose works convey our approach to visual content. Formalism and structure car-ries through the various styles and mediums we present with an overall interest in the personal content behind the artists’ aesthetics. Our Asian “Nihonga” program is one approach by the gallery to highlight artists working within their cultural en-vironments. Be it a young Norwegian artist, an African American photographer, or Chinese and Japanese Nihonga painters, Dillon Gallery continues to act as a forum for regional voices across the artistic landscape.
Originating in SOHO in 1994, Dillon Gallery is now located on West 25th Street in New York City, occupying the ground floor space in a converted 19th century warehouse.
Nacho Rodriguez Bach (b. 1966, Mexico City) uses unorthodox mediums to cre-ate light and sonic installations, or what the artist refers to as “experiential art.” He takes inspiration from seemingly disparate disciplines such as astronomy, philoso-phy, folk arts, and linguistics.
Steven MacIver’s (b. 1979, Orkney Islands, Scotland) research and practice focuses on developing the linguistics of drawing and its role in the mediation of communi-cation between the artist and the viewer, evoking real, remembered and imagined environments.
Ultra Violet (b. 1935, Grenoble, France) re-configures the trope of self-portraiture through her Self Portrait mirror series. By using colored mirror surfaces with mirrored letters that read “Auto Port Rait” or “Self Portrait,” Ultra Violet takes the conventional self-portrait and challenges its ideas, presumptions, and blind spots. Her art often addresses topics of consumerism, narcissism, and violence by using the very icons that stand for those ideas, making her work visually and conceptually provocative.
WEBSITE
www.dillongallery.com
[email protected]@[email protected]@dillongallery.com
PHONE
+1 212 727 8585
CONTACT NAMES
Valerie DillonDiana LeeAlexander BrownAlvaro Pérez Miranda
EXHIBITED ARTISTS
Nacho Rodriguez BachSteven MacIverUltra Violet
OTHER REPRESENTED ARTISTS
Cristina De MiddelPer FronthMakoto FujimuraMaurizio GalimbertiMasatake KouzakiChristophe LaudamielBrian RoseSilke SchoenerMichel TaboriAsami Yoshiga
COVER
Steven MacIverNexus20126 miles of gold and silver yarn, metal hooks, wood10.6 × 10.6 × 10.6 ft
INSIDE
Nacho Rodriguez BachPsychedelic Patio2012Monitors, animationSize variable
BACK
Ultra VioletSelf Port Rait2012Baroque frame in transparent crystalline plastic with mirror and mirrored self portrait lettersEdition of 7, 25 × 25 in
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GALERIE DUKANThe grotesque is a game with the absurd, in the sense that the grotesque artist plays, half laughingly, half horrified, with the deep absurdities of existence.Wolfgang Kayser
The grotesque is the art of the extravagant contradictions. It fuses opposing aes-thetics — beauty and ugliness, refinement and vulgarity, horror and humour, tragedy and comedy — and forces to coexist antithetical archetypes. It is a fundamentally ambivalent thing, as a violent clash of opposites, and hence, in some of its forms at least, as an appropriate expression of the problematical nature of existence.
The grotesque is a kind of chiaroscuro fact, an art of extreme light and shadow, and it is an underground art.The word itself is rooted in the sixteenth century Italian ex-cavation of ancient palaces and villas such as Nero’s Domus Aurea in Rome, and the discovery of a fantastical decorative style in the underground chambers called grotte.
WEBSITE
www.galeriedukan.com
PHONE
+33 9 81 34 61 83
CELL
+33 6 61 93 49 29
CONTACT NAME
Sam Dukan
EXHIBITED ARTISTS
Folkert de JongBayrol JimenezJohn KlecknerAlicia PazRichard StiplAlexander Tinei
OTHER REPRESENTED ARTISTS
Josef BolfNicholas Di GenovaNina FowlerArturo Hernández AlcázarOlivier MasmonteilYigal OzeriJohan TahonNarcisse TodoirCraig Wylie
COVER
Folkert de JongThe Immortals2012Polyurethane, foam, wood, metal, spray paint191 × 100 × 80 cm
INSIDE
Richard StiplBlock Sabbath2005Resin, pigments, oil paint, found objects55 × 95 × 40 cm (each figure 50 × 14 × 9 cm) / Ed 4 (of 4)
BACK
John KlecknerUntitled (detail)2009Ink and watercolour on paper with hand-painted passe-partout47 × 37 cm
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EB&FLOWEB&Flow provides a platform to exhibit and support contemporary artists in London. The gallery occupies a converted print works across two floors in the heart of Shoreditch.
Neil Ayling (b. 1983) lives and works in London. He graduated from Winchester School of Art, Sculpture, and then the Royal College of Art, graduating in 2010 (MA Fine Art Sculpture). He has worked in Anish Kapoor and Antony Gormley’s studios and currently combines studio work for Sir Anthony Caro with his own practice.
William Bradley (b. 1984) graduated with a Masters from Wimbledon College of the University of the Arts London in 2008, selling out his end of year show. He was selected for FutureMap 08 and the Catlin Art prize 2009 and 2011.
Artists Anonymous are a Berlin and London based collective, working across disci-plines from film and installation, to both painting and photography, coining their own method of paint based image and afterimage. Their work is included in the Deutsche Bank collection, Advaney Collection, and has been shown at major institutions like Hamburger Bahnhof.
Mike Ballard (b. 1972) graduated from St. Martins in 2007 with an MA in Fine Art. Now working from his London studio, he continues to exhibit regularly, specialising in creating immersive installations.
Briony Anderson (b. 1982) studied at The University of Edinburgh and Edinburgh College of Art (MA Hons 2005), now lives and works in London. Anderson’s signature works are turbulent landscape paintings alive with loose, expressive brushwork.
Gemma Anderson (b. 1981) lives and works between London and Cornwall. She attended Falmouth College of Art (BA) and the Royal College of Art, London (MA). Anderson is currently Artist in Residence at Imperial College Mathematics Department and was awarded a studentship at University College Falmouth to com-plete a practise based PhD in Comparative Morphology and Drawing.
Graduating from Chelsea School of Art, Australian painter Chris Aerfeldt (b. 1958) depicts larger than life women, obliquely self referenced portraits, where the glorification of the ‘female form’ is translated into a terrifyingly surreal vision of what ultimately might become.
WEBSITE
www.ebandflowgallery.com
PHONE
+44 20 7729 7797
CELL
+44 7725039580
CONTACT NAMES
Margherita BerloniRobin Mann
EXHIBITED ARTISTS
Chris AerfeldtBriony AndersonGemma AndersonArtist Anonymus: L’OisaeuNeil AylingMike BallardWilliam Bradley
OTHER REPRESENTED ARTISTS
Ross M BrownSue CorkeAlinka EcheverriaNicholas McleodSteve SabellaKatie Louise Surridge
COVER
William BradleyUntitled2013Oil on canvas110 × 90 cm
INSIDE
Artists AnonymousL’oiseau2012Oil on canvas / photographic afterimage40 × 30 cm / 80 × 60 cm
BACK
Neil AylingConcrete Candy2013Printed vinyl on brass30 × 25 × 37 cm
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GALLERI CHRISTOFFER EGELUNDAt VOLTA9 we are pleased to present YOU AND I ARE NOT SO DIFFERENT, an installation of new works by Christoffer Joergensen. The cinematic title resonates with the artist’s narrative style and his ability to create intriguing fields of tension, for instance between rigid, almost Cartesian grids and a blurry complexity or between abstract patterns and photographic subject matter.
For his Grogram images, the artist manually cuts two different photographs into thin strips and then weaves them together to form a new image. Details of photographs of unrelated people and circumstances are united in this way. Once interwoven, the two images influence and to an extent veil each other. The people in them loose their individuality and become types.
Meanwhile, in his Eurospheres series Joergensen digitally mirrors triangular frag-ments of his photographs of plenary halls to form hexagonal patterns reminiscent of honeycombs or kaleidoscopes. Dotted around these hexagonal cells are tiny politi-cians listening, writing or reading the papers. On the one hand, the two elements of the sphere and the pattern conjure a symbolically loaded atmosphere. On the other, one is overcome by a distinct sense of absurdity when looking at the works up close.
Faced with the image tsunami and the general acceleration of existence, Joer-gensen has opted for slower, more long term projects, creating works that speak to us about our alienation, our chaotic times and about our need to find meaning and some structure within them.
Christoffer Joergensen is born in Denmark but lives and works today in Zurich. During 2002-2004 he graduated with an MA in photography from the Royal Col-lage of Art in London. Joergensen has participated in several exhibitions at Galleri Christoffer Egelund and is today one of the gallery’s permanent artists. He has also been represented at Charlottenborg´s Spring Exhibition and he has had several solo exhibitions in Europe.
WEBSITE
www.christofferegelund.dk
PHONE
+45 33 939 200
CELL
+45 26 272 871
CONTACT NAMES
Christoffer EgelundChris Handberg
EXHIBITED ARTIST
Christoffer Joergensen
OTHER REPRESENTED ARTISTS
Crystel Ceresa (CH)Ghost Of A Dream (US)Jason Jägel (US)Maria Torp (DK)Christoffer Joergensen (CH)Michael Johansson (SE)Morten Steen Hebsgaard (DK)Theis Wendt (DK)Thierry Feuz (AU)Yuichi Hirako (JP)
COVER
Christoffer JoergensenMemory Portrait (detail)2013C-print on Duraclear, meshwork60 × 80 cm
INSIDE
Christoffer JoergensenEurosphere 1 (detail)2013C-print, Diasec150 cm diameter
BACK
Christoffer JoergensenEurosphere 12013C-print, Diasec150 cm diameter
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ESPACIO MÍNIMOThe work of Juan Luis Moraza is inseparable of his understanding of art as essen-tially linked to its historical situation. In ARULES series, rulers, triangles, calipers, templates and models of measurement and pattern taken from different contexts (architecture, tailoring, academia, nautical science, etc.) are twisted creating unique folds, producing the paradoxical situation of a universal anormativity.
Bene Bergado’s sculptural practice is part of a long tradition of iconic sculpture.that reformulates for the present the experience of representation. Habitats series present sculptures in micro contexts that are both reflection and origin from the quotidian: fragmented spaces created as environments where the life of beings that personify human emotions is displayed.
Felipe Cortés’ starting point for Compound Works is a research and conceptual study of the concept of collage and the work of Kurt Schwitters. From the specific-ity of the object, the works try to suggest possible relations between the different elements that compose them: from the proper materials to the different changes of status that will affect them or had affected them.
Anne Berning’s works consider the viewer’s point of view. The paintings are not ex-hibited in a traditional way and the spectator begins to search for explanations for that. They are all references towards a false reality which actually does not exist for behind its appearance of reality. What the artist is portraying does not exist. Apart from a few of the objects, most of them are invented.
Employing clichés, the construction of sexual identity or art world roles as starting points, Miguel Ángel Gaüca has developed a discourse around how these themes operate in the current social context. Conversation proposes a reflection around how form and shape giving have been constructed according to market interest, generating aprioristic identifications that automatically match a particular form with a political position.
WEBSITE
www.espaciominimo.es
PHONE
+34 91 467 61 56
CELL
+34 619 794 624
CONTACT NAMES
José Martínez CalvoLuis Valverde Espejo
EXHIBITED ARTISTS
Bene BergadoAnne BerningFelipe CortésMiguel Ángel GaüecaJuan Luis Moraza
OTHER REPRESENTED ARTISTS
Manu ArreguiNono BanderaLiu DingPhilip JonesEnrique MartyAntonio MontalvoManu Muniategiandikoetxea Neil Farber and Michael DumontierErwin OlafLiliana Porter
COVER
Juan Luis MorazaARULES (modelo social 144) (detail)2013Plastic rulers and glass259 × 259 × 40 cm
INSIDE
Bene BergadoCasa de fieras (serie Hábitats naturales) (detail)2010Polyurethane, wood and objects203 × 120 × 82 cm
BACK
Felipe CortesC W. Mansportret2012Used magazines, romantic weekly novel, magnets, fold back clips12 × 30.5 × 27.5 cm
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ESPAIV ISOR – V ISOR GALLERYIn the late ‘60’s Braco Dimitrijević began his interventions in the urban environment involving the participation of people on the street. In Accidental Sculpture (1968), Accidental Drawing (1968) and Sculpture by Tihomir Simcic (1968), the artist set the initial situation completed by the casual action of passersby.
With his idiomatic wit Dimitrijević places these discreet effects of everyday urban dynamics under beaux-arts categories. In one occasion the artist installed a heap of plaster of Paris on the road, waiting with a camera. When a car passed by, the cloud produced was photographed and entitled Accidental Sculpture (1968). Dimitrijević insisted that, despite its short life which lasted until the cloud fell or dispersed, this work had all the traits of sculpture — it was made from the most common sculptural material and had perceptible volume.
Painting by Krešimir Klika (1969) is a key work from this period. Dimitrijević installed a milk carton on the street, waiting for a car to run it over. He stopped the driver and asked his judgment of the milk splash. If the driver assessed the white stain as art, he would be asked to sign it directly on pavement. At the moment the driver agreed to sign the milk splash, the authorship shifted from Dimitrijević, who set up the situation, to the person who accomplished the action. Simultaneously to Roland Barthes’ essay on “The Death of the Author” we witness the birth of Kresimir Klika, the artist and the spectator in one.
“In these series of works the artist only arranges the initial situation, the develop-ment of which depends of chance, understanding and approval of other persons. When entering a gallery a visitor is prepared to see works of art. I have tried to chose people at random, without knowing whether they have an affinity for art and make them not only the spectators, but persons who cooperate with the ‘arranger’, i.e. create. They have thus been included in the act of creating and the dividing line that formerly existed between artist and non-artist has been removed”.
“After all,” Catherine Millet wrote on Dimitrijević’s artistic strategy, “this voluntary self-cancellation of the artist is a fitting strategy for making obvious the necessity of his action in a society that no longer knows what place to allot the artist. In the eighties, during which this place, unlike the seventies, was so well defined that it was made banal, we saw a certain number of artists going back to this model of disap-pearance and hiding behind pseudonyms, initials, or enigmatic company names.”
In 1971 Dimitrijević began the photographic series This Could be a Place of His-torical Importance. The artist took pictures of randomly selected locations, varying from a romantic corner of the countryside to a monumental staircase, from an ordi-nary house facade to an interior, and equipped them with this subtitle. He used this conditional statement both for places of unquestionable importance and for totally anonymous sites. There is a considerable suggestive power in this simple sentence: it can trigger the imagination, which will make some bush in the park into the scene of a mysterious affair or even a murder. The sentence can mean at least two things; that any place can in the future become the stage of an important event, or that some event has already taken place there, but its importance is still to be recog-nized. It implies that all places are of potential historical interest and simultaneously calls into question the category of ‘historical importance’ as such.
WEBSITE
www.espaivisor.com
PHONE
+34 963 922 399
CELL
+34 628 881 245
CONTACT NAMES
Mira BernabeuDavid SerranoMiriam Lozano
EXHIBITED ARTISTS
Joan FontcubertaHamish FultonBraco DimitrijevićNil Yalter
OTHER REPRESENTED ARTISTS
Sanja IvekovićOswaldo MaciáJoan FontcubertaEulalia ValldoseraMiguel Ángel RojasAlberto BarayaEsther FerrerLynne CohenJuan Fernando HerránCarlos Leppe
COVER
Braco DimitrijevićThis Could Be A Place Of Historical Interest1973 – 76Photography50 × 35 cm each
INSIDE
Braco DimitrijevićAccidental Painting. Accidental Sculpture. Accidental Drawing.1968 – 69Photography90 × 70 cm each
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JONATHAN FERRARA GALLERY“Telling stories is a part of human nature; it’s how we relate to one another. The stories we have in common help us create sincere connections to our neighbors and our surroundings. What’s more, storytelling — for better or worse — typically involves hyperbole. We tend to exaggerate; we tend to lie.
As a painter, I’m preoccupied by the undeniable role that the image plays in creating this acceptance of the fictional. A painting has the authority to make the intangible concrete, and a series of them has the ability to authenticate a fabrication in our collective memory. When I begin a piece, I typically start with preexisting images, artifacts from this collective remembrance. I look for images that shape my picto-rial consciousness, that are hard to question because when I first saw them they were presented as the truth. From them, I’m given my task – I have to “disrepair” them. I have to consolidate an earlier world of historical and cultural visual-fact with an evolving understanding of subtlety and gradation. I find that the discrepancies I discover between the absolute and the nuanced inspire me most.
Mysock says of his new suite of work for VOLTA9, “I’m told that long ago our an-cestors spent a great deal of time looking up at the night sky, bonding with the celestial lights that passed overhead, and relating those distant forms to the my-thology of their time.”
It’s noteworthy, however, that after generations of dreaming about those astronomi-cal bodies, after generations of yearning to visit our celestial neighbors, something happened after we made it to the moon. We lost interest; once the inaccessible became accessible, it lost its luster. Since the last man walked on the lunar surface more than 40 years ago, we’ve lived in an age of declining fascination. Somehow, it seems, we spoiled the mystique of the heavens by visiting the moon.
That’s precisely where the visual conversations in my most recent work begin. Throughout the paintings, I examine the motivations, rewards, and realities of ex-ploration and ambition. Whether transforming the moon into the characters of an elusive narrative or veiling Space Race illustrations as a means of measuring past enterprise against present inquiry, each piece tests the perspective from which we progress. Looking backward, inward, outward, and forward, the work quietly asks where we are and what we’re going to do about it.”
WEBSITE
www.jonathanferraragallery.com
PHONE
+1 504 522 5471
CONTACT NAMES
Jonathan FerraraJean Kennedy BurgessMatthew Weldon Showman
EXHIBITED ARTIST
Adam Mysock
OTHER REPRESENTED ARTISTS
Brian BorrelloDavid BuckinghamHannah ChalewSkylar FeinGeneric Art Solutions (G.A.S)Michael PajonGina PhillipsDan TaguePaul VillinskiMonica Zeringue
COVER
Adam MysockThe Title Lock2013Acrylic on panel5 × 4 in
INSIDE
Adam MysockPonce de Leon Discovering the Fountain of Youth2012Acrylic on panel10.5 × 23.5 in
BACK (LEFT)
Adam MysockForever Looking Out2013Acrylic on panel5 × 5.9 in
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Adam MysockSo Abram departed, as the LORD had spoken unto him; and Lot went with him: and Abram was seventy and five years old when he departed out of Haran.2011Acrylic on panel14 × 16 in
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GALLERIA MARIE-LAURE FLEISCHGalleria Marie-Laure Fleisch presents three artists whose production centres on drawing as a cognitive instrument to investigate reality and to perceive objects.
The works of Sergio Breviario (b. 1974, Bergamo, Italy) are the product of a studied mix of elements meticulously taken from art history tradition to which he applies natural and artificial objects with the deliberate intent of creating an alienating ef-fect. To this, he adds an installation format which helps the viewers in their precise interpretation of the work. The result is a metaphysical vision which highlights his powerful, balanced style and the carefully studied harmony of his compositions.
Maya Zack’s (b. 1977, Tel Aviv, Israel) creative research investigates humankind’s obsessive desire to catalogue, manifested by attempts to classify and order reality by applying codes and parameters. In her work, video-installations accompanied by drawings, the protagonists are depicted as meticulous, maniacal surveyors inces-santly engaged in measuring their surroundings. Zack attributes a double role to drawing: in her videos it is a practical tool used by her protagonists to measure and apply their formulae and graphs, her paper-based works accompanying her video help the viewer in registering, documenting and fixating the conceptual mechanisms which are developed as the video progresses.
Nikolaus Gansterer (Klosterneuburg, Austria 1974) is deeply involved in investigat-ing the link between drawing, thought and action. In his visual work, he focuses on mapping those processes which emerge from cultural and scientific networks, thus revealing their inherent, interconnected structures. By rejecting any strict differen-tiation of these two areas, and with his combination of methods from both fields, he demonstrates distinct lines of connection and division which question the imaginary threshold between nature and culture, art and philosophy.
WEBSITE
www.galleriamlf.com
PHONE
+39 06 68 89 19 36
CONTACT NAME
Marie-Laure Fleisch
EXHIBITED ARTISTS
Sergio BreviarioNikolaus GanstererMaya Zack
OTHER REPRESENTED ARTISTS
Etti AbergelYifat BezalelSergio BreviarioClaudia ComteChiara DynysNina Fischer & Maroan El SaniNikolaus GanstererJorinde VoigtMaya Zack
COVER
Sergio BreviarioCome quando fuori piove (detail)2011Drawing on tracing paper glued on mirror23 × 32 cm
INSIDE
Nikolaus GanstererThinking-Drawing-Diagram (from Drawing a Hypothesis)2011Book15 × 22 cm
BACK
Maya ZackBlack and White Rule (video still)2011One channel HD video17:45 min
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GALERIE FORTLAAN 17Manor Grunewald’s (b. 1985, Ghent) work is composed primarily of painting and collage drawings. He is looking for new possibilities to challenge and expand the classical constraints of the canvas. He wants to break with the rules and structures inherent in this medium.
Grunewald received several prizes in the field of painting and installations. In 2008 he received the ‘Gaverprijs’, Waregem, in 2011 he won the ‘BNP Paribas Fortis Young Ones Award’, Brussels and he was selected for the ‘Young Belgian Painters Award’ and exhibited at BOZAR, Brussels. In 2012 he was nominated for the ‘Provinciale Prijs Beeldende Kunst Oost-Vlaanderen’, Ghent.
His residencies include “Kulturbunker”, Frankfurt am Main in 2010, Frans Masereel Centrum, Kasterlee in 2013 and now he is planning his residency at the International Studio and Curatorial Program (ISCP) in New York for 2014.
In September 2013 he will present his third solo exhibition ‘Life’s a beach and then you die’ at Galerie Fortlaan 17.
He currently lives and works in Ghent and exhibits internationally.
‘One day she hears her voice calling her to the attic’
The title refers to the cult horror movie Do not look in the attic. The horror mystery is set within the threatening atmosphere of an attic. The characters in this film are lured there by an uncontrollable compulsion.
The project One day she hears her voice calling her to the attic is also a reference to the historical and stereotypical idea of tormented artists with a studio practice in a small attic. This specific setting of the studio atmosphere invites collectors to have a closer look at the process of an oeuvre.
Manor Grunewald brings a banal small surface of wood, a piece of his artist stu-dio, back to life through a displacement of context. This piece is marked by many years of paint-traces linked to the production of former work and shows traces of destruction as well as large gaps, caused by pulling and dragging while removing the wooden floor from the artists’ studio.
The context of an art fair is of importance for this specific installation as it is in-tended to be an interaction between the collectors and the artist by reconstructing a studio visit within the fair.
WEBSITE
www.fortlaan17.com
PHONE
+32 9 222 00 33
CELL
+32 475 55 01 77
CONTACT NAME
Ischa Tallieu
EXHIBITED ARTIST
Manor Grunewald
OTHER REPRESENTED ARTISTS
Jacques CharlierChristoph De BoeckStief DesmetAernoudt JacobsLawrence MalstafPieter Laurens MolHermann NitschEva SchlegelKiki SmithLotte Van den Audenaeren
COVER
Studio Manor Grunewald2013Photo: Sarah Eechaut
INSIDE
Studio Manor Grunewald2013Photo: Sarah Eechaut
BACK (LEFT)
Manor GrunewaldNo one was privileged2013Oil, acrylics, spraypaint, silkscreen on wood53 × 80 cm
BACK (RIGHT)
Manor GrunewaldThis time no loopholes (I could be an art student)2013Oil, collage on canvas50 × 60 cm
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FROSCH&PORTMANNFEMMES FATALES?Our booth at VOLTA9 is a women-only cabinet. Gallery artists Julia Kuhl, Eva Lake and Hooper Turner draw, cut-and-piece together or paint female characters.
Eva Lake’s fragmented faces of unknown beauties play with the concept of incom-pleteness. The Anonymous Women series is the Portland-based artist’s most recent work; cut-up and taken out of context — busted out of the box where they’re too often shoved into — Lake puts her women where you least expect them to be: They are the sky, the ocean, the Pantheon, the mirror or the carpet you step on. In her Targets series, Lake combines images of starlets and models with shooting targets and thus subverts the notion of the male gaze.
NY based artist Julia Kuhl casts herself in the roles of iconic female characters, re-interpreting them in the process. She begins by taking photographs of herself with props, and then uses the photographs to create intricately detailed and sensitively rendered watercolor drawings. She depicts an Ophelia not entirely resigned to her fate, Electra as a reluctant shadow-boxer, and Amelia Earhart, whose tragic end is foreshadowed by the fragility of her paper toy. With these drawings, Kuhl examines the archetypes she herself has absorbed and internalized.
Hooper Turner’s meticulous paintings of female beauties reflect his interest in mass-produced ephemeral printed material. His women appear to be lost in reverie either alone or with other women. They are absorbed in their own private world, contem-plating their physical and emotional environment and don’t engage the viewer at all. Turner has a conflicted relationship with advertising. By “remaking” commercial imagery, he confronts and questions his and the viewers’ desire for these elusive products and lifestyles.
The women shown are beautiful, some are self-absorbed, some seem fragile and insecure, others powerful and strong; but they all seduce and fascinate in their very own way.
Femmes Fatales? The viewer decides.
WEBSITE
www.froschportmann.com
PHONE
+1 646 820 9068
CELL
+1 646 266 5994
CONTACT NAMES
Eva Froschhp Portmann
EXHIBITED ARTISTS
Julia KuhlEva LakeHooper Turner
OTHER REPRESENTED ARTISTS
Raffaella ChiaraSeth Michael FormanSteve GreeneVicki SherRobert Yoder
COVER
Julia KuhlElectra (Series)2012Watercolor on paper14 × 11 in
INSIDE
Hooper TurnerBackstage (Three Women)2011Oil on canvas30 × 24 in
BACK
Eva LakeAnonymous Woman #582012Collage10 ¼ × 10 ½ in
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GALERIE JULIA GARNATZPortraits, individual or group portraits are Ramona Schintzel’s genre. For her mostly small to medium-sized paintings and drawings, the artist uses photographic material from friends and acquaintances, or from the own family album. Schintzel’s images are untitled. The people depicted remain nameless, they are children, adults and elderly people, mostly in classical portraiture-pose, occasionally captured as by a snapshot. They originate from images, typical for a family photo album: The proud grandmother with grandchild, the finely trimmed first communicant, the family with dog, best friends, clerical dignitaries, the winner of a competition. We get an intimate glimpse into bourgeois, Catholic, German families. People and moments seem to be captured here which we want to remember. But the first, so familiar sight tilts. Discomfort arises, looking at the faces of the people portrayed.
Predominantly frontal and sometimes almost physically intrusive, Ramona Schintzel sets her models in scene. They almost importunate on the viewer, appearing ob-stinate and inhibited or with distorted grin, like grotesque faces, prematurely aged. Supposedly familiar things become alien. The first perceived closeness turns into distance and kinship becomes threatening.
How much middle-class idyll is really beautiful? When does it turn into compulsion or even grotesque? The artist leaves the question unanswered. Without drifting into a mere caricature Schintzel succeeds in transforming the sitters from their originals and gives them a new identity. Seemingly self-critical they confront the viewer and keep the subtle balance between normality and complete insanity.
WEBSITE
www.juliagarnatz.com
PHONE
+49 221 340 62 97
CELL
+49 170 186 28 55
CONTACT NAME
Julia Garnatz
EXHIBITED ARTIST
Ramona Schintzel
OTHER REPRESENTED ARTISTS
Siegfried AnzingerGina Lee FelberJohanna FreiseRobert HaissIlona HerreinerMarie Luise LebschikKatarina LönnbyAdrian NorvidVanessa OppenhoffJanet Werner
COVER
Ramona SchintzelUntitled2012Mixed media on paper20.8 × 27.9 cm
INSIDE
Ramona SchintzelUntitled2011Oil on canvas60 × 70 cm
BACK
Ramona SchintzelUntitled2010Pencil on paper30 × 40 cm
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MURIEL GUÉPIN GALLERYWell-regarded in Europe for his projects in public spaces and UNESCO protected sites, Joanie Lemercier presents unique light performances and installations that question one’s perception of space.
Stepping away from standard setups and techniques, Lemercier animates his own drawings and sculptural works using video mapping technology — a new technol-ogy that he has been developing since its inception. Lemercier’s abstractive works dwells on the objective details of his subjects: light, organic forms, geometrical shapes and colors. In his recent light canvases (LC) and light paper works (LP), drawings and static surfaces of an origami wall sculpture installation transform into animated movements. With light wandering through the surface and at times being projected at precise points onto the artwork, the viewer is plunged into a hypnotiz-ing experience of minimalist beauty.
Gabriel Barcia-Colombo’s work focuses on memorialization and, more specifically, the act of leaving one’s imprint for the next generation. While formally implemented by natural history collections (which find their roots in Renaissance era “cabinets of curiosity”), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture. His video sculptures play upon this exigency in our culture to chron-icle, preserve and wax nostalgic, an idea which Barcia-Colombo renders visually by “collecting” human beings (alongside cultural archetypes) as scientific specimens.
Time is a constant theme in Barcia-Colombo’s work, particularly in terms of engag-ing the viewer with our modern culture’s increasing tendency for nostalgic wander-ings, and the obsessive need for digitized, personal chronicling.
WEBSITE
www.murielguepingallery.com
PHONE
+1 347 244 1052
CELL
+1 347 244 1052
CONTACT NAME
Muriel Guépin
EXHIBITED ARTISTS
Gabriel Barcia-ColomboJoanie Lemercier
OTHER REPRESENTED ARTISTS
Matthew ConradtIsabel Brito-Farre Patrick CarraraBeatrice CoronBeth DaryAnne GeoffroyInger Johanne GryttingMichiyo IharaJoan LurieIviva OlenickAudrey StoneRobert Szot
COVER
Gabriel Barcia-ColomboA Point Just Passed2011Mixed-media interactive video sculpture, 10 videos of 10 minutes loop each11 × 24 × 11 in
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Joanie LemercierLight Canvas III2012Sintra print, high-resolution video, 2.5 minutes loop31 × 79 in
BACK
Gabriel Barcia-ColomboAnimalia Chordata2006 / 2013Mixed-media interactive video sculpture, 6 videos of 4 minutes loop and 6 videos of 6 minutes loop24 × 17 × 10 in
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GALERIA ENRIQUE GUERREROGALERIA ENRIQUE GUERRERO was established in 1997 as the result of an in-tense decade of collaboration between prestigious cultural institutions. The gallery represents a select group of young artists that explore the diverse medias of the visual arts: painting, sculpture, photography, video, performance and installation.
Annual exhibition programs and activities in its facilities and international forums, as well as through the intense promotion labor, allows a successful development of the artist´s careers by this consolidated avant-garde gallery.
Quirarte+Ornelas explore the materiality of objects through their work, approaching them through a variety of possibilities apart from their ordinary function. Bringing together several media into the conception of their pieces, they develop and investi-gate taking the object to its material state, fragmenting and reconstructing it into new structures in which form transcends function, a cycle which refers to the sculpture process, bringing it all together through painting, drawing, objects and installation.
While working in a variety of materials and media and pushing the boundaries of figurative expression in sculpture, Richard Stipl arrives at a crossroads where each avenue leads back to the original departure point and we are constantly reminded of the circular and labyrinthine nature of his artistic pursuits.
Miler Lagos (b. 1973, Bogotá) works with various media including video, installa-tion and sculpture. One of his main goals is to provide a lesson to the viewer, re-membering that things are not always as they appear, creating balloons filled, not of air but of cement, wood logs that are actually made of printed paper, or jewelry made of traditional Colombian sweets. Lagos proposes the decontextualization of his work, as well achieving to deceive the spectator with his meticulous technique and rigorous conceptual structure.
WEBSITE
www.galeriaenriqueguerrero.com
PHONE
+52 (55) 52 80 29 41
CONTACT NAMES
Enrique GuerreroMiguel GuerreroCristina Sandoval
EXHIBITED ARTISTS
Quirarte+OrnelasMiler LagosDaniela Edburg and Richard Stipl
OTHER REPRESENTED ARTISTS
Felipe EhrenbergHector FalconAdela Goldbard Pablo HelgueraYui KugimiyaMiguel Angel MadrigalMauro PivaCarolina PonteTony SolisPedro VarelaBeatriz Zamora
COVER
Miler LagosThe Northern Hemisphere of Celestial Globe – from the series Cimiento2013Carved piled paper58 × 60 × 39 cm
INSIDE
Quirarte+OrnelasCopper Structure 12013Watercolor on paper78 × 106.5 cm
BACK
Richard StiplYes, No, Maybe, Never2012Fired clay and wax33 × 34 × 35 cm
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GALLERY H.A.N.Myungil Lee is talking about the human world of mind with anxiety.
His works of mental part has a human’s samsara, he seems to be interesting about instinctive desire of ‘what’ and ‘what is it’. His works feel like a self-psychological circumstance.
He says “I always want to remain live also I want to see my inspiration.”
Maybe he want to be glamorous color of material more than others, the human that is hidden in a behind brutal instinct and desire, besides stimulate the instinct of the narcissus, it seems to bring us into the works inside.
Jeongyun Choi’s sword realize the land value also spread. It means that trace re-lated origin and basically productive function.
His works is the sculpture in which he carve one by one the unnecessary meaning in the large mess, the sculpture attached little by little the meaning which is new to the existing meaning. The meanings added to by new interpretation of him are vari-ous shapes of sculpture again.
Just the imagination unlimited of the artist visiting the past and future often is the same as time travel. The formative language which he make while two times coex-ist in one thing.
WEBSITE
www.gallery-han.com
PHONE
+82 2 737 6825
CELL
+82 10 9108 5529
CONTACT NAME
Sungwon Lee
EXHIBITED ARTISTS
Myungil LeeJeongyun Choi
OTHER REPRESENTED ARTISTS
Kyung-Ja RheeHwang HurYoungwon KimEungki KimKijoo HanSangmo KooBongchae JeongDongsu LeeSungil Son
COVER
Myungil LeeTo Exist, or To Sustain? (detail)2012Mixed media on paper29 × 20.9 cm
INSIDE
Jeongyun ChoiThe Flesh of Passage (in time)2013SaltInstallation view
BACK
Myungil LeeTo Exist, or To Sustain?2012Mixed media on paper29 × 20.9 cm (each)
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PATRICK HEIDE CONTEMPORARY ART At VOLTA, PHCA presents three artists — Kàroly Keserü, Hans Kotter & Sarah Bridgland — who on different levels and through different media communicate what is one main feature of the gallery program: abstract drawing.
An inquiry into the continuation of modernism and its significance in the digital age lay at the base of Hungarian artist Kàroly Keserü’s oeuvre. Keserü’s paintings and drawings are first and foremost visually engaging with the basic forms of the grid and the dot defining the artist’s always expanding vocabulary. More recent works are gridless, the dots forming cloud like formations of alternating density. The works on paper range from methodical, geometric compositions and flowing line patterns to text pieces, felt- tip pen compositions reminiscent of fabric and punched and folded collages.
Berlin based artist Hans Kotter’s quest in art is to give shape to light and even “draw” with light either in space or within his light objects. Kotter’s objects are constructed from mirrored Perspex boxes and investigate spatial illusion. Different geometric shapes of light are endlessly reflected within a confined space, and shift with the viewer’s changing perspective while looping through colour schemes. Kotter’s light objects can be read as abstract drawings of contemporary urban landscapes and create a desire to submerge and loose oneself in the fluctuation of light – reminis-cent of modern night skylines or skyscraper facades.
Part of the gallery’s Breeder program, Sarah Bridgland works mainly with three-dimensional collage. The Royal College of Art in London graduate combines cut-outs from books and old magazines with drawn imagery and found objects to cre-ate intimately scaled paper sculptures. Ideas of deconstruction and collaging from pre-war art movements and post-war architecture are fused with the playfulness of contemporary mixed media installations or even origami. Bridgland’s imagery plays with our visual memory, recomposing its tracks and traces in a kaleidoscopic man-ner, seemingly chaotic mini-mindscapes of our disjointed universe.
WEBSITE
www.patrickheide.com
PHONE
+44 20 7724 5548
CONTACT NAMES
Patrick HeideMartina Fortuni
EXHIBITED ARTISTS
Sarah BridglandKàroly KeserüHans Kotter
OTHER REPRESENTED ARTISTS
Isabel AlbrechtDavid ConnearnIna GeisslerAlex HamiltonThomas KilpperMinjung KimYuliya LaninaThomas MüllerFrancesco PessinaSusan Stockwell
COVER
Kàroly KeserüUntitled (1211201) (detail)2012Ink on book page28 × 20 cm
INSIDE
Sarah BridglandStopftwist Staple Box (Black, White and Red)2010Paper, enamel paint, found cotton box, glue14.8 × 8.9 × 7 cm
BACK
Hans KotterSpring and Windows (Installation shot)2012Mirror, Plexiglas, LEDs colour change, remote100 × 100 cm each
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HELSINKI CONTEMPORARYMiikka Vaskola works with large scale, even monumental paintings. He reworks the canvas sometimes heavily while he at other times leaves a sense of blankness into the painting. For Vaskola the abstract painting is a slow place — a place for reflec-tion. His works may at first sight seem spontaneous and even fast, but Vaskola’s painting process is actually very long. He works persistently, investigating how dif-ferent materials react with the canvas.
In addition to abstract works Vaskola also paints realistically created figures. Both the figurative imagery and the abstract worlds in Vaskola’s body or work take the viewer deep into the past times but at the same time they are anchored in the cur-rent moment. The human figures presented in the works are intriguing and mesmer-izing. The viewer is confronted with something that is hard to understand, but the paintings holds us and won’t let us go away untouched. These are paintings that ask only and solely for that one thing: can you look for one more moment, and a little longer — and then come back again.
The slowness produced by the long working progress is central for understanding Vaskola’s paintings. The works offer a chance for lingering reflection and open up as time goes by. The subtle paintings — masterly in their sense of material — let the eye wander on large surfaces. From the surface the gaze dives deep into the work where new traces or references are found and produced by the viewer’s own associations.
MI IKKA VASKOLA was born in Helsinki, Finland and graduated from the Finnish Academy of Fine Art in 2008. Vaskola has exhibited in solo shows at the Turku Art Museum (2008), Gallery Kalhama&Piippo Contemporary (2010), Galleri 21 in Malmö Sweden (2011) and Helsinki Contemporary (2013). Vaskola has also participated in numerous group exhibitions in Scandinavia, including the Nordic Art Triennial at Eskilstuna Art Museum in Sweden (2010) and East of the Sun, West of the Moon at Växjö kunshalle (2012).
WEBSITE
www.helsinkicontemporary.com
PHONE
+358 9 278 5301
CELL
+358 40 740 4901
CONTACT NAME
Mikaela Lostedt
EXHIBITED ARTIST
Miikka Vaskola
OTHER REPRESENTED ARTISTS
Saara EkströmHannaleena HeiskaPekka JylhäSanna KannistoJukka KorkeilaLiisa LounilaVille LöppönenRauha Mäkilä Heli RekulaMaiju Salmenkivi
COVER
Miikka VaskolaListener (detail)2013Ink, acrylic, charcoal, chalk, iron oxide on canvas250 × 190 cm
INSIDE
Miikka VaskolaUntitled (detail)2012Ink, acrylic, charcoal, iron oxide, chalk on canvas200 × 250 cm
BACK
Miikka VaskolaAsk him why yelling don’t reach his mind2013Ink, acrylic, charcoal, chalk, iron oxide on canvas240 × 192 cm
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HILGER BROT KUNSTHALLE TRANSITORY NATURE OF THINGSThis exhibition presents a common theme in the practices of Asgar/Gabriel, Leila Pazooki and Simon Vega. All explore the transitory nature of things with unique in-dividual approaches. Asgar/Gabriel examine the transience of being and the struc-tures of society. Pazooki deconstructs society’s values by re-contextualizing icons like European old masters’ paintings. In this particular project the mind is set free, beyond orthodox frameworks of perception, to establish a dialectical relationship between present and absent entities. Vega uses disregarded technical appliances to form artworks which reference historical milestones. These artists have observed and respond to the basic human need to touch, hold and feel most things — even works of art — instead of being intimidated by their sanctity.
They are globetrotters with diverse ethnical backgrounds. Vega is from El Salvador, Asgar/Gabriel an artist duo from Vienna/Tehran and Pazooki was born in Tehran but lives and works in London.
Asgar/Gabriel (1975/74, Tehran/Vienna)2014 tba, Torrance Art Museum, Los Angeles2013 tba, Museo Nacional de Arte Moderno, Buenos Aires2011 Under The Paving Stones, The Beach, Kunsthallen Brandts, Odense2011 Aufloesung der Oekonomie, Mannheimer Kunstverein, Mannheim
Leila Pazooki (1977, Tehran)2012 Come Invest In Us. You’ll Strike Gold, Hilger BROT Kunsthalle, Vienna 2011 The Global Contemporary Art Worlds After 1989, ZKM, Karlsruhe 2009 Iran Inside Out, Chelsea Art Museum, New York
Simón Vega (1972, San Salvador)2013 National Representative of El Salvador, Latin American Pavilion,
55th Venice Biennale2011 Coca-Colonization, Marte, Museo Nacional de Arte de El Salvador 2006 9th Havana Biennale
ADVERTISING TOMBSTONE WALL (NO. 3, TELL ME EVERYTHING)The sculpture is based on paper pamphlets advertising doctors, sangomas, and traditional healers; all supposedly able to cure any ailment, trouble or disease. It signifies that South African society seems to be more concerned about getting a bigger dick than addressing some of its gaping societal problems…
Cameron Platter (1978, Johannesburg)2013 Contemporary South African Art and the Archive, South African Pavilion,
55th Venice Biennale2011 Impressions From South Africa, 1965 To Now, MoMA, New York2010 Recontres Internationales, Centre Pompidou, Paris
WEBSITE
www.hilger.at
[email protected]@hilger.at
PHONE
+43 1 512 53 15
CELL
+43 650 27 39 650
CONTACT NAMES
Ernst HilgerMichael Kaufmann
EXHIBITED ARTISTS
Asgar / GabrielLeila PazookiSimón VegaCameron Platter
OTHER REPRESENTED ARTISTS
Daniele BuettiIan BurnsClifton ChildreeOliver DorferPeterson KamwathiAnastasia KhoroshilovaÁngel MarcosPors & RaoMichael ScogginsNives Widauer
COVER
Simón VegaPanopticam Cluster2013Ink on paper17 × 14 cm
INSIDE
Asgar / GabrielWe are hungry, in fact very hungry (studio view)2013Oil on cardboard100 × 360 cm
BACK (LEFT)
Cameron PlatterAdvertising Tombstone Wall (no. 3, Tell Me Everything)2013Carved jacaranda wood250 × 200 × 30 cm
BACK (RIGHT)
Leila PazookiEmpty space in your mind2012Mixed mediaSize variable
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THE HOLEPROCESS-DRIVEN ABSTRACTIONFor VOLTA9 The Hole presents two very different New York-based abstract artists who use new ways to make an abstract “painting”, or something that challenges what a painting could be. Both focus on their process and often take a hands-off approach where the logic and causality behind making the work is allowed free reign to create whatever it creates, with minimal artist interference. Both blend conceptual approaches to painting with beautiful and subtle aesthetic concerns, incorporating performative or ritualistic elements visually apparent in the final result.
Holton Rower (b. 1962 New York NY, lives and works in New York City)Holton Rower delves into the physics of acrylic paint to make it do extraordinary things. Rower’s “Pour paintings” debuted at The Hole NYC last May with a survey of the diverse results achieved through the innovative and deceptively simple process of pouring hand-made acrylic paints over wood. In his current show (through June 20), Rower introduces new “Focus paintings”, simple in construction and complex in effect. How did the artist achieved these seemingly “out of focus” paintings — poured over a curved support, doused with urethane, or dried on a vibrating surface? Their method of construction remains Rower’s secret; the viewer can focus on the visual effect produced and their quizzical relationship to historic abstraction. Like the pours that are no more like Morris Louis than Lynda Benglis, the focus paintings are superficially somewhere in between Richter and Hirst, or perhaps even earlier. Both series originate from a true “chemist of paint”, a sculptor of paint more than a traditional abstract painter.
Kadar Brock (b. 1980 New York NY, lives and works in Brooklyn)Kadar Brock is known for painting process-driven abstraction that can’t help but feel psychological. He takes his old, bright geometric paintings, what he deemed a “failed” series, and after having them hanging around the studio and bringing him down, he covered them over with layers and layers of paint and then attacked them with a sander and a razor blade to produce perfectly smooth and perforated ab-stract paintings. In our booth he debuts a new series where Brock takes the residue from his sanded and shaved works and adheres the debris into a positive painting that literally came off of the other work. These slices and dusty piles of paint swirl together to evoke a new kind of “history” painting.
WEBSITE
www.theholenyc.com
PHONE
+1 212 466 1100
CONTACT NAMES
Kathy Grayson (Owner / Director)Amanda Schmitt (Assistant Director)Jon Link (Director of Operations)
EXHIBITED ARTISTS
Holton RowerKadar Brock
OTHER REPRESENTED ARTISTS
Evan GruzisHolton RowerKadar BrockKembra PfahlerLola Montes SchnabelMatthew StoneSayre GomezFriendsWithYouJaimie WarrenBen Jones
COVER
Holton RowerUntitled (detail)2012Acrylic on wood81 × 69 in / 205.7 × 175.3 cm
INSIDE
Kadar Brockderedemisreubii2009 – 2012Oil, acrylic, flashe, house paint and spray paint on canvas96 × 72 in / 243.8 × 182.9 cm
BACK
Holton RowerUntitled2013Acrylic on wood49.5 × 39 × 1 in / 125.7 × 99.1 × 2.5 cm
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THE INTERNATIONAL 3For VOLTA9, The International 3 brings together the work of Rachel Goodyear and Rafal Topolewski in a curated booth presentation that combines new works of paint-ing, drawing, sculpture and animation.
Topolewski’s ongoing exploration is the role of image making in the contemporary world. Recognising that computers, mobile phones and digital photography have rapidly changed the way we produce and receive images, Topolewski’s interest lies in the role of the painting and the painter within this. For Goodyear, it is the medium of drawing that is her field of enquiry. Considered by the artist as being at the core of her practice, Goodyear’s drawings have in recent years begun to move off the page into animation and sculpture.
This dynamic juxtaposition of content and form coheres around the artists shared interest in questioning the boundaries of their chosen ‘traditional’ mediums and in both artists’ mature technique.
Born in Grudziadz (Poland) in 1983, Topolewski graduated in 2012 with a first class BA Hons Fine Art degree from Manchester Metropolitan University. Topolewski was one of the four finalists of The Saatchi Gallery and Channel 4’s New Sensations Prize 2012 and was recently invited by the Zabludowicz Collection to take part in ‘Test-ing Ground: Master Class’. His first solo show took place at The International 3 in May 2013. His work is held in a number of private collections and in The Saatchi Collection. Topolewski will begin an MA at The Royal Academy Schools, London in September 2013.
Born in Oldham (U.K.) in 1978, Goodyear graduated from her BA Hons Fine Art de-gree at Leeds Metropolitan University in 2000. Goodyear has exhibited widely within the U.K. and internationally and her work is held in a number of public, private and corporate collections. Her next solo show, ‘Artificial Night’ will open at The Inter-national 3 on June 28th 2013.
The International 3 is an exhibition and project space located in Manchester U.K. We produce a year round programme of new commissions, solo shows, group ex-hibitions and events both on and off-site. We also work with a core group of artists, exhibiting and selling their work. The International 3 is also the curatorial co-ordina-tor for The Manchester Contemporary art-fair. The International 3 is a not for profit limited company directed by curators Paulette Terry Brien and Laurence Lane. Our activity is in part funded by Arts Council England and from support received through our newly launched Patrons Scheme.
WEBSITE
www.international3.com
PHONE
+44 161 237 3336
CELL
+44 7981 389 591
CONTACT NAMES
Paulette Terry BrienLaurence Lane
EXHIBITED ARTISTS
Rachel GoodyearRafal Topolewski
OTHER REPRESENTED ARTISTS
Brass ArtStuart EdmundsonJosephine FlynnPat FlynnAlison Erika FordeAndrew McDonaldSean PenlingtonDaniel Taylor (associate artist)
COVER
Rachel GoodyearFiddler (detail from larger work Valley)2013Pencil, watercolour, collage204 × 134 cm (Valley)
INSIDE
Rafal TopolewskiUntitled (palm tree)2013Oil on canvas220 × 175 cm
BACK (LEFT)
Rachel GoodyearFiddler(detail from larger work Valley)2013Pencil, watercolour, collage204 × 134 cm (Valley)
BACK (RIGHT)
Rafal TopolewskiAerial Landscape Modification No. 22012Oil on canvas33 × 41 cm
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JARMUSCHEK + PARTNERAt VOLTA9 in Basel, Jarmuschek + Partner presents recent works of Patrick Cier-pka, Carina Linge and Nika Neelova.
They all reflect the emergence of subjective perception and memory and about the connection between the physical and emotional experience. The aspect of caducity of the experienced — whether acted from the outside on a person or moved from the inside — plays a central part.
Patrick Cierpka’s pictorial worlds on canvas seem to flicker in the viewers eye. Ap-plying one layer of paint upon the other, the artist creates opulently colourful tree crowns of great spatial depth, in which the contemplator searches in vain for clear outlines. It strikes him that the thicket and branches are veiled by the brightness of the sun. The painting suggests that the challenged eye lets us hesitate in an in-stant of blindness.
At first glance the pictures of Carina Linge appear familiar. The artist deals with themes of Renaissance and Baroque painting and of art up to the nineteenth Cen-tury. Looked at more closely, her photographies contain something that irritates, that opens a new pictorial dimension — a threatening detail, an unexplained gesture or an object which draw us back into the present. Linge uses our knowledge of allegories and symbols as a tried and tested method of telling us something, which gets to the heart of the subject. Her works absorb the viewer in memories and the history-charged human thoughts of relationships and feelings, evanescence and death.
The space-consuming installations by Nika Neelova are inspired by places she has lived in and lost. She handles the experience of missing something, which can’t be retrieved, but go on living in the memory and is exaggerated or distorted by the years which have passed. Neelova’s materials are as inconsistent as human memo-ries: wood, wax, glass and charcoal. The deployed fragments have lost their original function, are broken, twisted, weather-beaten, ripped, burnt or decayed. In a certain way, they are ruins of places of the past.
WEBSITE
www.jarmuschek.de
PHONE
+49 30 2859 9070
CELL
+49 17 9512 9068
CONTACT NAMES
Kristian JarmuschekStefan Trinks
EXHIBITED ARTISTS
Patrick CierpkaCarina LingeNika Neelova
OTHER REPRESENTED ARTISTS
Sabine BanovicMarc FrommOliver GröneDieter LutschHarding MeyerMartha ParseyMarkus PutzeJakob RoepkeCarsten WeitzmannJürgen Wolf
COVER
Nika NeelovaBurning Meteors Leave no Dust2013Cast concrete, aircraft cableDimensions variablePhoto: Courtesy Vigo Gallery, London
INSIDE
Carina LingeStilleben mit Zauberwürfel2013C-Print on Aludibond40 × 60 cmed. 3+2 ap
BACK
Patrick Cierpkablackholesun2012Acrylic and oil on canvas150 × 210 cm
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GALERIE KLEINDIENSTBack in the day Gießen on the Lahn was a place where you’d either flip off a pass-ing patrol car or you’d shoot a tracer after it.
Then, the Gießen left was a big shot in the German republic. Unlike the Frankfurters who were always just talking.
Then, the girls from Hamburg travelled to Gießen in droves to be fucked by the Gießen Redskins.
He’d buried a gun in the forest, so he’d be prepared when things went off.
Slightly right of the RAF, is what they used to say — just a fingerbreadth right of the RAF.
All the hate and all the denial would be impossible to remove from him, Heino told me this one particular night in Gießen, while he was winning one schnapps after the other in a game of dice against the barkeeper. One for himself and one for me. And then he gave me a ride on his scooter, the 100 meters to my sleeping place. Heino isn’t, won’t ever be and has never been my friend, except for this one evening when I listened to the lifestory and the doubts of the man Heino, who is fighting with his hands and feet to avoid that his fire dies down, that the numbing normality ends the radical times in which he grew up.
He insisted that although people kept telling him, it wasn’t true, times weren’t changing, it just wasn’t true, there was no reason to slow down. That they were all just hiding behind their desks and in their lecture halls. That meanwhile he was left behind with his fire, and the fire left him behind, and made him lonely.
The others call Heino a psychopath, nothing more, somebody who can’t control himself and you won’t control him either. And I held onto him, on his scooter, and I would have ridden anywhere with him, absolutely anywhere.(Carsten Tabel, Teribble Eyes, Text, 2013)
WEBSITE
www.galerieKleindienst.de
PHONE
+49 34 1477 4553
CELL
+49 17 0808 5816
CONTACT NAMES
Matthias KleindienstChristian Seyde
EXHIBITED ARTISTS
Julius HofmannAnett StuthCarsten Tabel
OTHER REPRESENTED ARTISTS
Tilo BaumgärtelHenriette GrahnertTom FabritiusRosa LoyCorinne von LebusaSebastian NebeChristoph RuckhäberleNadin Maria RüfenachtSebastian StumpfAnett StuthSteve Viezens
COVER
Julius HofmannLarissa2013Acrylic on canvas300 × 200 cm
INSIDE
Anett Stuthunvollkommen und unvollendet2013C-print, diasec180 × 250 cm
BACK
Carsten TableEasy2013Installation view140 × 230 × 290 cm
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KRUPIC KERSTING GALERIE // KUKkrupic kersting gallery presents a two artist show featuring Robert Kunec and Tobias Sternberg. Their conceptual objects and collages ironically react to the absurdity of the outside world.
ROBERT KUNEC (B. 1978, SLOVAKIA/ GERMANY) “Robert Kunec is a political artist who is not afraid to take on edgy societal subjects and he is a sculptor who finds three dimensional images that direct our sensibilities toward the heart of these themes” (1). Robert Kunec is working in the context of political plastics, a “toxic waste site of the visual arts” (2). This debate polarizes — but yet: “Once again art is a politically explosive force” (3).
(1) Prof. Dr. Eugen Blume in: Robert Kunec, artist catalogue, Kunststiftung des Landes Sachsen-Anhalt, 2011
(2) Dr. Johannes Stahl, (curator)(3) Dr. Noemi Smolik, (curator & art critic)
TOBIAS STERNBERG (B. 1973, SWEDEN/ GERMANY)Before moving to London in 2002 to study art at Goldsmith’s College he had time to study a bit of philosophy, history and creative writing and to pursue work as a carpenter to finance his artistic and philosophical experiments.
Along with his conceptual work on sculpture, Tobias Sternberg is engaged in de-veloping a large body of collage work. The choice of collage as a medium is an ex-ercise in creativity as a spontaneous activity, where the artist is making associative jumps that reconnects and reorders the given, instead of artfully planning and pro-ducing a meaning. Recently Tobias Sternberg conducted workshops in Edinburgh and Glasgow named “The Contemporary Art Repair Shop” where he is transforming broken daily life objects into something “new” — www.artrepairshop.com
WEBSITE
www.kukgalerie.de
PHONE
+49 176 4930 8831
CONTACT NAMES
Emira KrupicMarkus Kersting
EXHIBITED ARTISTS
Robert KunecTobias Sternberg
OTHER REPRESENTED ARTISTS
Baptiste DebombourgKristina LekoPierre CourtinIrena Eden & Stijn LernoutDamir RadovicClaudia Marcela Robles Jon SheltonAlma Suljevic
COVER
Tobias SternbergBlooming Telescopes2011Collage30 × 40 cm
INSIDE
Robert KunecTo live out one’s suitcase2011Suitcase, base80 × 55 × 20 cm
BACK (LEFT)
Robert KunecTwelve (detail)2010Mixed media, acrylic boxes335 × 110 × 32 cm (variable hanging)
BACK (RIGHT)
Tobias SternbergBad Box2010Metal, paint46 × 23 × 14 cm
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GALERIE MARTIN KUDLEKGalerie Martin Kudlek is presenting a curated four artist show for VOLTA9. The artis-tic dialogue between Jonathan Callan, Angela Glajcar, Alexander Gorlizki and Sofie Muller focusses on various aspects of sculpture and paperworks.
Jonathan Callan often works with thematically charged found objects like books or photographs, the surfaces and body of which he transforms by destructive interven-tions. These two- and three-dimensional objects are deconstructed, their original meaning erased or re-encrypted, providing them with new levels of interpretation.
Angela Glajcar forms abstract relief- and sculptural- objects by tearing sheets of pa-per. She transforms this material which is often seen as light and fleeting into works of grand presence. Her additive paper objects hover around states of equilibrium; our gaze is led into the object by the interplay of light and shadow.
Gorlizki’s paintings on paper embrace both the traditions of western and eastern (especially Indian) art. While his conceptual approach is totally western the tech-nique he employes is Indian. His unique pictorial language embraces elements of both cultures on all kinds of levels reaching from the banal to the spiritual.
Sofie Muller makes works on paper and sculpture. Her smoke drawings seem to capture transient moments of human existence while her sculptural work reaches deep into the very psyche of this same existence.
WEBSITE
www.kudlek.com
PHONE
+49 221 729 667
CELL
+49 172 243 0099
CONTACT NAME
Martin Kudlek
EXHIBITED ARTISTS
Jonathan CallanAngela GlajcarAlexander GorlizkiSofie Muller
OTHER REPRESENTED ARTISTS
Lucie BepplerHella BerentThomas BöingEyal DanieliEllen KeusenHeiko RäppleFrances RichardsonNora SchattauerNiels SieversMartin Willing
COVER
Jonathan CallanFrom N to O2012Paper, Wood, Steel Pins58 × 44 × 9 cm
INSIDE
Sofie MullerBrandt2011Patinated Bronze, Burnt Wood130 cm heightEdition: 3/5
BACK (LEFT)
Alexander GorlizkiHalf a Mule2011Pigment and Gold on Book Print25.5 × 19 cm
BACK (RIGHT)
Angela GlajcarTerforation IX2009Paper, Metal, Plastic140 × 100 × 26 cm
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LARMGALLERIDiscovering Kaspar Oppen Samuelsen’s works is like entering an utopian fairy-tale-like dream filled with whimsical and humorous figures coming together in a fantasy world full of colour and mixed materials. The works are often precisely detailed and part of an associative universe. The figures are presented in a simple narration with a political, satiric twist. There are clear references to antiquity in his works — span-ning a wide range of media from paper-works to video installation — and also to Dutch and Italian renaissance, including Piero della Francesca, Leonardo da Vinci and Pieter Bruegel the Elder.
Hartmut Stockter’s art inspires us with thoughts of progress, of machines to aid mankind. We are eager to consider progress and new machines as a positive, evo-lutionary development. But there is something markedly old fashioned, almost al-chemic and phantasmagorical about Stockter’s apparatuses. It might be that the artist’s devices should have stayed on the drawing board: they do not assist us in our journey to the stars or to the centre of the Earth; they do not revolutionize the infrastructure of the state, providing us with eco-friendly public transport; they do not make us healthier; they are not even environmentally correct. What these ma-chines do is revive our imaginations.
At the heart of Oana Farcas’ practice is portraiture: women, men and children, real and fictionalised, parade across her boards and canvases. Ranging in size from the diminutive world of the miniature, to large scale crowd scenes, Farcas’ work delivers a colourful ensemble of characters. Farcas’ world could be described as being between the visible and invisible. What she feels and ‘sees’ in her mind’s eye is combined by seen and felt experiences in reality. Who is to say that one is less real than the other when both can be translated into memories, and after both are re-born and co-existent within the grounds of her paintings? Farcas’ paintings cer-tainly have a dream-like quality about them. Yet amidst the soft, misty environs she creates, there is a tangible physicality. The figures are robust, passionate creatures awash with emotions and often depicted mid action. The notion of observing a figure who is seemingly unaware, lends a voyeuristic quality to the work.
WEBSITE
www.larmgalleri.dk
PHONE
+45 2991 4657
CELL
+45 2680 9230
CONTACT NAMES
Louise RahbekLars Rahbek
EXHIBITED ARTISTS
Hartmut Stockter (DK)Kaspar Oppen Samuelsen (DK)Oana Farcas (DK)
OTHER REPRESENTED ARTISTS
Christian AchenbachDitte EjlerskovMoritz SchleimeNicola Samori
COVER
Kaspar Oppen SamuelsenUntitled (detail)2013Gouache on Paper90 × 65 cm
INSIDE
Hartmut StockterWiesenpfad Menschenrad2009Mixed media200 × 200 × 70 cm
BACK
Oana FarcasUntitled2013Oil on canvas70 × 110 cm
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CHRISTIAN LARSEN GALLERYThe pictorial universe of the young Swedish artist Bo Christian Larsson (b. 1976, Sweden) has its fulcrum in an archaic dream world, a sort of “non-place”, domi-nated by mythic elements and archetypal characters drawn from the collective unconscious. Larsson works with drawing, sculpture and performance, often al-lowing these to relate to each other. His performances serve as a catalyst for the permanent works, which sometimes appear like surviving archaeological finds. Typi-cally, Larsson’s sculptures are made up of a combination of both recognizable and symbol-saturated everyday items. Hats and books appear, for instance, in atypical combinations with various materials and objects, such as candle wax, feathers, iron chains and light bulbs.
If Larsson’s work springs out of a kind of otherworldliness, the work of Viktor Ros-dahl (b. 1980, Sweden) deals very concretely with the social realism of his native Sweden. Hailing from the country’s southern city of Helsingborg, Rosdahl grew up with a passion for graffiti, still evident in his intuitive approach to surface and media. He will execute his pieces with minute detail on materials ranging from bridal silk to synthetic leather, all of which are likely to have been found by the artist in a back alley somewhere. Rosdahl successfully combines the visual language of traditional Western art with burning cultural issues of today – his industrial landscapes and run down housing projects serving as reminders of the modern utopian project’s demise.
Christian Larsen is one of Scandinavia’s leading galleries showing Nordic and in-ternational contemporary art. Founded in 2007, the gallery is located in central Stockholm on the short street of Hudiksvallsgatan, home to no less than nine of Sweden’s top tier galleries. The annual program is comprised of 7 exhibitions as well as participation in international art fairs.
WEBSITE
www.christianlarsen.se
PHONE
+46 8 30 98 30
CELL
+46 347 925 8845
CONTACT NAMES
Erik JönssonEmil Bertz
EXHIBITED ARTISTS
Bo Christian LarssonViktor Rosdahl
OTHER REPRESENTED ARTISTS
Atelier van LieshoutChristian-Pontus AnderssonMax BookMad GamdrupCharlotte GyllenhammarJeannin / SchuurmansKaty KirbachJohn KörnerDaniel LergonLilibeth Cuenca Rasmussen
COVER
Viktor RosdahlWhen the New Deal Arrived2012Blueberry juice, walnut oil, various ink and oil on synthetic canvas180 × 200 cm
INSIDE
Bo Christian LarssonThe New World With An Old Boat Part 12011Mixed media140 × 100 × 65 cm
BACK
Viktor RosdahlIn i de dype skogernas favn (Into the Embrace of the Deep Forests)2012Acrylic, ink and lacquer on canvas150 × 150 cm
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PETER LAV GALLERYAdam Jeppesen (b. 1979) has recently started working with photogravure for the first time. Like in his earlier works, Jeppesen is interested in seeing how far the photographic medium can be pushed. The images for Jeppesen’s gravure-works stem from his long journey from the Arctic through the Americas to Antarctica in 2009-2010. For 487 days Jeppesen travelled in solitude and from his long journey a series of melancholic evocative landscapes has emerged. The special aesthetics of photogravure brings out this melancholy in a new and strong way, giving form to a new body of work and adding another chapter to his journey at the same time.
Julie Boserup’s artwork in the media of drawing, collage and photography record the contradictions of everyday life. Making use of various image sources such as travel guides, CCTV footage and own snapshots of the immediate surroundings, Boserup operates on a low-tech threshold between collage and drawing, and be-tween digital and analogue techniques. Through her elaborate graphic process, the known landscape becomes destabilised, and the viewer is invited into a negotiation between that which is seen and that which is overlooked, that which is worth see-ing and that which is not.
The Nagoya Notebook series by Anna Strand are made during her stay in Japan in spring 2012. Strand had long wanted to visit Japan, regarding it as a place with a wide range of cultural expressions, which are connected with some of the recur-rent themes she works with, for example suppressed emotions, control and ritual behaviour. A form of fictive notebook from her journey, the series is called Nagoya Notebook. In the series, different approaches to photography — both found photo-graphs, staged photographs and photographic objects — are presented
In her series ”The Island — A Case Study of a Collectors Mind”, Hyun-Jin Kwak (KOR/SWE, b. 1974) explores an old Venetian palace. The palace looks abandoned at first sight, but turns out to be inhabited by an old man and his family. The old man has dragged all kinds of stuff inside the house, while forgetting to take care of the house itself. Refusing to get rid of things that others would consider nothing but junk, the house has deteriorated over the last 20 years. Kwak makes an inves-tigation of the history of the house, the family’s biography and the perception of the house as a deviation from the norm.
ABOUT PETER LAV GALLERYInaugurated in January 2006, Peter Lav Gallery is a relatively new gallery. Our focus is on contemporary art photography and the gallery sees it as its task to promote and further the careers of younger, emerging artists that explore the boundaries of the photographic media.
Peter Lav Gallery is the first gallery in Copenhagen which focuses exclusively on contemporary photography. All artists represented by Peter Lav Gallery have previ-ously had had their work shown in galleries, museums and exhibitions in Scandina-via and throughout Europe.
WEBSITE
www.plgallery.dk
PHONE
+45 2880 2398
CELL
+45 2880 2398
CONTACT NAME
Peter Lav
EXHIBITED ARTISTS
Adam Jeppesen (DK)Hyun-Jin Kwak (KOR/SWE)Anna Strand (SWE)Julie Boserup (DK)
OTHER REPRESENTED ARTISTS
Taiyo Onorato & Nico Krebs (CH)Clare Strand (UK)Michael Reisch (GER)Jakob Hunosøe (DK)Torben Eskerod (DK)Ville Lenkkeri (SWE)
COVER
Julie BoserupFifteen Years series (detail)2010Framed, collage on photographs16.5 × 22 cm, each unique
INSIDE
Adam JeppesenUntitled2013Photogravure63 × 57 cm
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LÉNA & ROSELLI GALLERYLéna & Roselli Gallery, founded in 2008, is an international contemporary gallery. In 2009 the gallery started a project called BudArtPest. The aim of this project is to create cultural bridges and connections between Hungarian and International con-temporary art galleries and artists.
CSABA FÜRJESI / VISUAL ARTISTCsaba Fürjesi’s human figures and objects referring to human existence dwell in an emptied, metaphysical space, a kind of surreal conceptual matrix. The boundaries between reality and imagination — in the middle-age scholastic sense of the term — are blurred in this virtual world. His figures, looking inward in silent meditation mostly gaze at regions unfathomable, ones that we may suspect at best. They re-call the Neo-Platonic tradition articulated by Plotinus and later by St Augustine, in which the realm beyond our senses can be known through the intellectual vision –visio intellectualis.
ATTILA MATA / SCULPTORI always wanted to make sculptures accepted by nobody. Not even by myself.
These works do not reflect my taste. One must not always love one’s subject but we wish to survive these few years and one must tell and produce what one feels, otherwise thorns will remain in you. If some of them come out, new ones in turn. But we would like to live somehow independently of this: my absolute form of exis-tence, for me this is a great adventure.
WEBSITE
www.lenaroselligallery.com
CELL
+36 30 435 7443
CONTACT NAME
Léna Ilona Orosz
EXHIBITED ARTISTS
Attila MataCsaba Fürjesi
OTHER REPRESENTED ARTISTS
Ramón PereiraOleg KulikLászló LaknerIstván NádlerBotond RészeghIvan LardschneiderÁgnes VerebicsKatalin VerebicsFerenc Veszely Julia Winter
COVER
Attila MataGolem2005Bronze96 × 76 × 31 cm
INSIDE
Csaba FürjesiEastern College2013Oil on canvas100 × 150 cm
BACK (LEFT)
Attila MataFemale2008Bronze and aluminum30 × 24 cm
BACK (RIGHT)
Csaba FürjesiTrial-Loneliness2012Oil on canvas100 × 120 cm
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MA2 GALLERYKen Matsubara dissolves our sleeping memories just as they are frozen at the bot-tom of our hearts, in his works made of antique objects, photographs and videos imprinted with people’s memories.
He thinks that memories are inherited from human to human through the DNA of microorganisms, and that people can reach these common memories that cross over the world’s various races and generations if we can awaken our own memo-ries. Human beings are tied together by common memories, and we will cross over those boundaries by sharing our memories.
Matsubara installs old compact TVs, which were produced by SONY and other Japanese companies in the late ‘70’s and 80’s, as a dry stone garden landscape. These products were the symbol of Japanese high technology and the strong econ-omy. He puts his memory in these containers with psychological overlap. Viewers see the memory though sinking TV in the land surface.
WEBSITE
www.ma2gallery.com
PHONE
+81 3 34441133
CELL
+81 90 42202985
CONTACT NAME
Masami Matsubara
EXHIBITED ARTIST
Ken Matsubara
OTHER REPRESENTED ARTISTS
Ai KitaharaAkihiro HiguchiKeisuke KondoKyotaro HakamataMats GustafsonMikiya TakimotoNaoko SekineNobuaki OnishiTamotsu FujiiYasuko Iba
COVER
Ken MatsubaraTV on the Seashore2013Movie, mixed mediaVariable dimensions
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Ken MatsubaraTV on the Seashore (detail)2013Movie, mixed mediaVariable dimensions
BACK
Ken MatsubaraTV on the Seashore (detail)2013Movie, mixed mediaVariable dimensions
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GALERIE RON MANDOSThe fictional architecture and urban scenes of Rik Smits are imbued with the sense of what seems an idealised future. Smits’ imagined metropolis testifies to mankind’s drive to material improvement. Inspired by Modernist architecture, his city is littered with skyscrapers and architectural icons designed to impose and impress. Human spirituality also has a strong presence in the form of colossal religious temples and monoliths that occupy prominent positions within the urban layout.
But despite the imposing way these commercial and religious buildings stand out in the skyline they also embody the marks of decay and desertion hinting that the state of spiritual wellbeing in this ambitious society may not be is as sound as it first seems.
Rik Smit’s Capital 1, especially produced for VOLTA, will for the first time see the execution of his urban vision in the form of a spectacular large format scale model. In addition to this, Smits has created a series of 15 new drawings, which will ac-company the piece.
WEBSITE
www.ronmandos.nl
PHONE
+31 20 320 70 36
CONTACT NAMES
Ron MandosToby Robinson
EXHIBITED ARTIST
Rik Smits
OTHER REPRESENTED ARTISTS
Artists AnonymousDaniel ArshamAnthony GoicoleaIsaac JulienRenato NicolodiJacco OlivierHans Op de BeeckRenie SpoelstraRon van der EndeLevi van Veluw
COVER
Rik SmitsThe Old Chesterson Pharmaceutical Company (detail)2012Pencil on paper21 × 29 cm
INSIDE
Rik SmitsCapital 1 (detail)2013Styropor foam, wood, cardboard225 × 366 cm
BACK
Rik SmitsMonument Rock Island2012Pencil on paper240 × 350 cm
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GALERIE MARIO MAZZOLIThe German duo Serge Baghdassarians / Boris Baltschun is known for producing audio and visual installations with various techniques and media.
Their basic methodology consists of recontextualizing professional tools and objects in order to transform them into living artifacts. The intent of their creations is some-times that of glorifying the erroneous, emphasizing phenomena that are normally considered transient or secondary, or at times that of transforming everyday prac-tices and commonplace devices into artistic endeavors. In both cases, however, an higher order of purpose emerges: a reflection on what we consider banal or not even worthy of attention, and how that can instead be manipulated into a compelling form.
This goes beyond the idea of the objet trouvé, as they do not stop at an alternative presentation of the object itself, but rather focus on its behavior. The question is what is the inherent potential, the capability of the object when in use, rather than in its idle state. For this reason they often realize time-based installations — to give life to the objects, and allowing to reuse them for a different purpose from that which they were designed for. The minimal and concentrated design of their installations reinforces the idea that the viewer should expect elaborate rearrangements that fo-cus on the sensorial effect, on how the devices actually behave.
Baghdassarians and Baltschun imbue their task with a sense for irony and a dose of playfulness, often by using tools related to their practice as electronic musicians.
In a work such as memory palace, for instance, a set of guitar tuners is arranged in a circle, and deprived of its original function as a tuning device. Indeed, its display is completely reprogrammed to create a dance of light — a film — that refers to the mnemonic of the standard guitar tuning: “eddy ate dynamite good by eddy”. This mutates the necessary but at times tiring practice of tuning an instrument, a quasi-nightmare and definite nuisance for every musician, into a playful reflection on how our memory functions. With the method of loci, the so-called memory palace, things to be remembered are associated with specific locations. In the aforementioned film this memory palace is, metaphorically speaking, constantly built and blown up again, leading to an ultimately cathartic effect.
Serge Baghdassarians (1972) and Boris Baltschun (1974) live and work in Berlin. They have collaborated since 1999 and have exhibited and performed at places such as the Sonic Acts Festival, Amsterdam; singuhr hoergalerie, Berlin; Kid Ai-lack Hall, Tokyo; Sao Paulo Biennal — Mobile Radio, Sao Paulo; Moderna Museet, Stockholm; Musee d’art moderne et contemporain, Strasbourg; Beyond Baroque, Los Angeles; and Diapason Gallery, New York. Last year they were awarded the “Karl-Sczuka-Preis” for radio art for their piece Bodybuilding and next summer they will be Artists-in-Residence at Villa Aurora in Los Angeles.
WEBSITE
www.galeriemazzoli.com
PHONE
+49 30 7545 9560
CELL
+49 176 6168 6491+49 176 6167 7839
CONTACT NAMES
Mario MazzoliAugusto MazzoliTania Tonelli
EXHIBITED ARTISTS
Serge Baghdassarians / Boris Baltschun
OTHER REPRESENTED ARTISTS
Guido Canziani JonaDouglas HendersonShingo InaoPe LangKristoffer MyskjaRoberto Paci DalóDonato PiccoloRoberto PuglieseMichele SpangheroSpazio Visivo (Paolo Cavinato /Stefano Trevisi)
COVER
Serge Baghdassarians / Boris BaltschunVolume2010Speakers, amplifier, wood, infra sound100 × 76 × 5 cmPhoto: studio baghdassarians / baltschun, private collection
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Serge Baghdassarians / Boris Baltschunmemory palace2012Modified pedal tuners125 × 125 × 5 cmAudio: 7 minutesPhoto: studio baghdassarians / baltschun
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P74 GALLERYTadej Pogačar has examined indeterminacy and transformation within social sys-tems since 1993 when he established the P.A.R.A.S.I.T.E. Museum of Contempo-rary Art.
In his art practice he engages in interventionist logic, institutional critique, and criti-cal research on social and political issues as well as participatory and collabora-tive projects.
School’s Out was originally conceived in 1997 as a participatory site-specific project in which the students of the Šentvid Gymnasium in Ljubljana were active partici-pants. Discreet installations (featuring teaching materials, instructional aids, every-day objects, etc.) were set up in a number of classrooms; they problematized the issues of knowledge, student–teacher relations, instruction, discipline, and control.
The School’s Out series of works (1997–present) were created out of a desire to explore the modern history of schoolteaching through subjective visual memory. They use local archival images from the 1940s, 1960s, and 1970s, which depict the processes of school instruction, discipline, control, in juxtaposition with objects and collages. These objects are educational tools and aids that point clearly to the time of their origin, the period of socialism and the common state of Yugoslavia; the collages thematize classifications, visual structures, colour systems, and the like.
Most recently, his work was exhibited at the Gagosian Gallery, New York, Galeria Luisa Strina, Sao paulo, Gallery for Contemporary Art in Leipzig, the ZKM Centre for Art and Media in Karlsruhe. His work has been included in major exhibits and bienni-als such as those in Venice, São Paulo, Istanbul, Prague, Tirana, and at Manifesta 1.
He is the recipient of many awards, grants, and residencies, including György Kepes Fellowship Grant for Advanced Studies and Transdisciplinary Research in Art, Cul-ture and Technology (MIT, Boston, 2012–2013), the Jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace Grant for Performance Art (New York, 2001), the AIR_port resi-dential program Forum Stadtpark in Graz (2003), and an Austrian Cultural Forum residency in London (2003).
SBD (smallbutdangers) are using media of drawing, painting, action and perfomance to reflect complexity of contemporary media; they are projecting their own intimate and poetic — sometimes also rough and provocative — understanding of everyday and put possibility of manipulation in the core of their interest. SBD are questioning visual regimes of our time. Red thread in their artistic praxis is visual play with no fixed rules. Found objects usually entitled “still life” or “natura morta” are not about a magic, hiding behind the surface.
It is about the surface, which makes reading possible.
SBD (smallbutdangers) does not mean anything: it is an intentionally misspelled and paraphrased expression “Small, but Mighty”, used in the context of the south-eastern Europe to denote a singular rebellious and powerful subject, capable of confronting and winning over an enemy who is usually much better consolidated. This expression, typical for the misfit-mentality of a Balkan man/woman, has become an operative term and a personal artistic brand of Mateja Rojc & Simon Hudolin – Salči, a couple from a tiny Slovenian village of Cerkno. Recently, their works were exhibited at P74 Gallery, Ljubljana, City Gallery Ljubljana, Brot Kunsthalle, Vienna, Škuc Gallery, Ljubljana.
WEBSITE
www.zavod-parasite.si
PHONE
+386 5 9714887
CELL
+386 40 370 199
CONTACT NAME
Uroš Legen
EXHIBITED ARTISTS
Tadej PogačarSBD (smallbutdangers)
OTHER REPRESENTED ARTISTS
Balint SzombathyDalibor MartinisDejan HabichtMladen StilinovićPolonca LovšinSanja IvekovićUroš PotočnikTomaž Furlan
COVER
SBD (smallbutdangers)The wishing table2011Oil on canvas60 × 50 cm
INSIDE
Tadej PogačarSchool’s Out (Bagat)2008Collage48.5 × 54.5 cm
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PABLO’S BIRTHDAY GALLERYECKART HAHN, BEAUTEOUSNESS, 2011The “painters tools” enter the stage luminously reflecting gold. A noble fur here plays the role of drop cloth, a luxurious rabbit pelt the kingly painters cloth. Not least of which, the left behind shoes of the painter are themselves gold as well.
These pure and innocent objects have been besmirched during the process of paint-ing the word “Beauty” on in black paint on the wall.
The principle of using profane objects for a higher goal — which are getting used, dirtied or at the end even dissipated during the art process — is without question tolerated in art and is turned in this work upside down.
The attempt to achieve Beauty is juxtaposed through the painful consciousness that it can be lost during the way to achieve it.
In this work the paradox is that the process and the result are turned around, in contradistinction with our relationship to Beauty, which is solely oriented on the pure result without questioning the price we have to pay for it.
Eckart Hahn is a sculptor and painter who lives and works in Reutlingen, Germany.
WEBSITE
www.pablosbirthday.com
PHONE
+1 212 462 2411
CELL
+1 917 519 4100
CONTACT NAMES
Arne ZimmermannJimi Billingsley
EXHIBITED ARTISTS
Thorsten BrinkmannHenrik EIbenFrank GerritzEckart Hahn
OTHER REPRESENTED ARTISTS
Christian EisenbergerKarsten KonradKristian KozulMarc Lueders
COVER
Thorsten BrinkmannL’Alberling Quell (detail)2013C-print, mounted on alu- dibond wooden frame, mirogard museum glassEdition 7 + 2AP, 97 × 73 cm
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Eckart HahnBeauteousness2011Mixed Media500 × 140 × 200 cm
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Henrik EibenVoyager (Blue)2012Fabric, Wood, Glass, Paint, Gypsum148 × 98 × 16 cm
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GALLERY POULSENIn Debra Hampton’s art, beauty can be seen as both armor and weapon. In the dra-matic booth installation with historical references, Hampton poses critical questions about consumer culture and society’s continual focus on the body and our desire for youthful perfection. She assembles her heroines from fragments of magazine advertisements and other ephemeral material, creating powerful female figures as contemporary warriors evolved from the absurdity and abundance of luxury items, beauty products, mechanical parts and coveted weapons. The questions and cri-tiques inspired by her collages are relevant and ongoing as we navigate times of economic hardship and one should think post-consumerism. However the quest for eternal youth, power and the promotion of unethical consumption is showing no signs of slowing down. Are we in a time of denial rather than facing the facts that there are more substantial concerns at stake?
Hampton’s work spans various unconventional media and process to investigate issues of commodity, identity and appropriation. She is best known for mixed me-dia, mash-up collage portraits created from 1000s of magazine cutouts, splattered ink, and intricately stippled shapes. Accompanying the portrait series are sculpted objects such as a talisman and a full-size suit of armor.
The armor reflects the warrior-like attitude of the portraits and offers a variety of conceptual interpretations that cross-relate. Selections from the Arms and Armor Collection at the Metropolitan Museum of Art as well as royal portraits including elaborate paintings of Queen Elizabeth were sources of inspiration in this series. The armor is made exclusively from post-waste, recycled plastic, which was ripped, cut, and assembled, in a similar fashion to the collages. Using discarded plastic is an important component in understanding the armor as it allowed Ms. Hampton to address one of her utmost political and social concerns- the continued disregard for environmental harm and unsustainable consumer choices.
The talisman is a unique, delicate piece which includes luxuriously valuable elements like Swarovski crystals, environmentally and culturally significant objects such as bone and stone beads, and more personal items such as discarded Xacto blades used to create the collages, cut-out backings as well as beads from a necklace worn by the artist’s deceased maternal grandmother.
According to Elizabeth Grady, Debra Hampton’s ”women are clearly capable of vio-lence, but whether that violence is practiced offensively or defensively is left uncer-tain. The theme is also picked up in her Suits of Armor sculpture. Sharing an iconic presence with the collages, they seem at once to be relics from some uncertain past, and a necessary tool for embracing a dangerous future. Like her figures, the suits of armor stand ready for action.
Conversely, like the armor, the figures in the collages seem strangely uninhabited by personalities, their blank eyes rendering the faces mask-like. Thus they can hide the wearer, empower them, or allow them to willingly adopt an alternate identity. Are we meant to imagine ourselves wearing these masks, hybrid but capable creatures bravely facing the future?”
Debra Hampton is included in the Museum of Modern Art Permanent Drawing Col-lection, NY, the Frederick R. Weisman Art Foundation, CA and the Trierenberg Hold-ing AG Corporate Art Collection, Austria.
WEBSITE
www.gallerypoulsen.com
PHONE
+45 3333 9396
CELL
+45 4015 5588
CONTACT NAME
Morten Poulsen
EXHIBITED ARTIST
Debra Hampton (US)
OTHER REPRESENTED ARTISTS
Aaron Johnson (US)Alfred Steiner (US)Barnaby Whitfield (US)Daniel Davidson (US)Eric White (US)Jade Townsend (US)Jean-Pierre Roy (US)Mi Ju (US/KOR)Rainer Hosch (US/AUS)Tom Sanford (US)
COVER
Debra HamptonRoyal Hot Mess2012Magazine cut out, archival prints, adhesive, ink, and watercolor on Somerset paper104 × 81.7 cm
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Debra HamptonEmblems of Empire (Diptych)2011Magazine cut out, archival print, adhesive, and ink on paper mounted on panel178 × 229 cm
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PRO GALLERY (PONCE ROBLES RUIZ)
Almudena Lobera (b. 1984, Spain, lives and works in Madrid)Almudena Lobera’s work delves deeply into the notion that the image is not always visible or accessible in nature. She explores its different states as part of the ex-perience of perception within an artistic context as she reflects on different “ways of seeing”. The unseen, the invisible, the unknown, mental processes, the virtual, the inaccessible are all present; everything that lacks visuality and materiality takes shape in her recent works. She gives expression to her ideas using different ma-terials: installations, video-installations, drawings, photographs, objects or mixed techniques. Space and action are also important for the artist, who considers the work-viewer experience key.
Raúl Díaz Reyes (b. 1977, Spain, lives and work between Madrid and Sao Paulo)A sense of humor, irony, cynicism and melancholy are all present in the way he works with drawing and painting. Raúl Díaz Reyes highly personal universe is built on the foundations of appropriated references culled from various sources — symbolism, underground comic, science-fiction film or the history of art — which he uses to focus his attention on specific contexts, like outsider art or the study of paranormal phenomena, from a marginal angle at odds with the hegemonic.
Alex Bodea (1981, Romania, lives and works in Berlin)Alex Bodea pursued an early interest in drawing and writing. One experience could have helped in stimulating such an interest: the few attempts of imitating writing, while still an illiterate child. The result was a (now lost) collection of ‘homemade hieroglyphs’ and the realization that writing and drawing are one. Bodea simultane-ously graduated from the University of Agricultural Science Cluj while enrolling in the painting department of the University of Arts and Design Cluj, in 2007. It was in the last year of bachelor arts studies (2009) that drawing and writing became again reunited as the main focus. Since then, Bodea continuously explores the complex relation between words, images and signs. The acute desire is to test what draw-ing can do as a tool of prospecting reality, and how words can help in building one.
WEBSITE
www.progallery.es
PHONE
+34 420 3889
CELL
+34 61 975 7100
CONTACT NAMES
Raquel PonceJosé RoblesEva Ruiz
EXHIBITED ARTISTS
Almudena LoberaRaúl Díaz ReyesAlex Bodea
COVER
Almudena LoberaSuperficial reading2013Mixed MediaVariable dimensions
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Raúl Díaz ReyesSandra Cinto’s Folder2011 / 2013Composition of drawings on paper and booksVariable dimensions
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Alex BodeaVision notes2013Furniture and drawings on paperVariable dimensions
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PURDY HICKS GALLERY Bettina von Zwehl continues to explore the form of photographic portraits. Her early works were often defined by the exacting conditions she imposed on her sub-jects. Recently she has reprised the tradition of the painted portrait miniature and its lesser-known 18th Century sub-genre, the eye miniature, inspired while Artist in Residence at the Victoria & Albert Museum, London. Work emerging during that time presented significant departures for the artist, particularly in that her use of flash made way for a new appreciation of north facing natural light.
Each image in Made up Love song 2011 (a series of 34 miniature profiles) is charac-terized by certain fixed formal elements, so that on the surface each image is strik-ingly similar to the next — yet this project marked an important shift in von Zwehl’s practice; a profound and engaged relationship with one sitter. Working with Sophia, a Gallery Assistant at the V & A, she photographed her in the same pose, at the same location two or three times a week. An ongoing process of repetition and refinement, each session would be inflected with a slightly different expression to the last. The work was not an attempt to reveal the ‘truth’ of the sitter – more a contemplation of her being in the moment, a celebration of the here and now.
In Ruby’s Rom 2013, von Zwehl’s new approach combines a sense of lightness and spontaneity with the texture, poise and stillness of her previous images. Her meth-odology also reveals a deepening interest in the politics and the possibilities around the dialogue between artist, sitter and viewer
Bettina von Zwehl (b. 1971, Munich) lives and works in London, where she studied photography at the Royal College of Art. Her work is held in numerous public col-lections, including The Solomon R. Guggenheim Museum New York; The Victoria & Albert Museum, London; and The Rubell Family Collection Miami.
WEBSITE
www.purdyhicks.com
PHONE
+44 207 401 9229
CELL
+44 778 732 1556
CONTACT NAME
Rebecca Hicks
EXHIBITED ARTIST
Bettina von Zwehl
OTHER REPRESENTED ARTISTS
Chan-Hyo Bae Jonathan Delafield Cook Susan Derges Ralph Fleck Tom Hunter Andrzej Jackowski Sandra Kantanen Claire KerrAlice Maher Jorma Puranen
COVER
Bettina von ZwehlMade up love song part 102011C-typeImage diameter 5.8 cm,framed size 16.5 × 16.5 cm
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Bettina von ZwehlMade up love song part 72011C-typeImage diameter 5.8 cm,framed size 16.5 × 16.5 cm
BACK
Bettina von ZwehlMade up love song part 342011C-typeImage diameter 5.8 cm,framed size 16.5 × 16.5 cm
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DAVID RISLEY GALLERYWEBSITE
www.davidrisleygallery.com
PHONE
+45 32 20 38 10
CELL
+45 26 16 36 71
CONTACT NAMES
David RisleyChristian Foghmar
EXHIBITED ARTISTS
Helen FrikMichael SimpsonAlex DaCorteDexter DalwoodRobert McNally
OTHER REPRESENTED ARTISTS
James AldridgeAnna BjergerGraham DolphinJames HydeThomas HylanderHenry KrokatsisCharlie RobertsCharlie Woolley
COVER
Dexter DalwoodResist2013Oil on canvas150 × 207 cm
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Michael SimpsonThe Leper Squint No. 102013Oil on canvas152 × 92 cm
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TYLER ROLLINS F INE ARTSopheap Pich (b. 1971 in Battambang, Cambodia; lives and works in Phnom Penh, Cambodia) is widely considered to be Cambodia’s most internationally prominent contemporary artist. His work has been featured in numerous international museum exhibitions and biennials in Asia, Europe, Australia, and the United States. He par-ticipated in Documenta (13) last year with an installation of his grid-like Wall Reliefs, and he is currently featured in a solo exhibition at the Metropolitan Museum of Art, New York, entitled Cambodian Rattan: The Sculptures of Sopheap Pich (through July 7, 2013). Working primarily with thin strips of rattan and bamboo, Pich creates sculptural forms that address issues of time, memory, and the body, often relating to Cambodia’s history, particularly with regard to his recollections of life during the Khmer Rouge period (1975-79), and its culture, both its ancient traditions and con-temporary struggles. Pich’s work stands out for its subtlety and power, combining refinement of form with a visceral, emotive force. After receiving his BFA and MFA in the United States, Pich returned to Cambodia in 2002, where he began working with local materials – bamboo, rattan, burlap from rice bags, beeswax and earth pigments gathered from around Cambodia – to make sculptural forms that refer-ence social and political conditions in Cambodia. His childhood experiences during the genocidal conditions of late 1970s Cambodia had a lasting impact on his work, informing its themes of survival, family, and basic human togetherness.
Patricia Eustaquio (b. 1977 in the Philippines; lives and works in Manila, the Philip-pines) is one of the leading Filipino artists of her generation, noted for her work in a wide variety of media, including painting, sculpture, and installation. Informed by the vocabulary of craft and design, her work explores the vanity of artistic and cultural constructs, referencing the histories and processes related to different materials by crafting highly decorative objects and then excising various elements, thereby cre-ating a stark contrast between what is present what is absent. Eustaquio’s first solo exhibition in the United States will take place at Tyler Rollins Fine Art from Septem-ber 12 – October 19, 2013. She will present paintings and sculptures that are part of a new body of work developed for her upcoming solo exhibition at the Jorge B. Vargas Museum in Manila, the Philippines (July 23 – August 24, 2013).
Tyler Rollins Fine Art focuses primarily on solo exhibitions by leading contempo-rary artists based in seven countries in the Southeast Asia region, in addition to the United States and Australia. It is the only gallery in the United States with a primary focus on cutting edge contemporary art from throughout Southeast Asia, and indeed one of the few outside of Asia. We work closely with artists over the long term, with a particular emphasis on developing museum exhibitions and institutional projects.
WEBSITE
www.trfineart.com
PHONE
+1 212 229 9100
CELL
+1 570 401 2313
CONTACT NAMES
Tyler RollinsLee SmithMolly Nutt
EXHIBITED ARTISTS
Patricia EustaquioSopheap Pich
OTHER REPRESENTED ARTISTS
ArahmaianiTiffany ChungFX HarsonoTracey MoffattManuel OcampoAraya RasdjarmrearnsookPinaree SanpitakJakkai SiributrAgus SuwageYee I-Lann
COVER
Patricia EustaquioUntitled2013Oil on canvas152.5 × 81 cm / 60 × 32 in
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Sopheap PichLichens and Moss (detail)2012bamboo, rattan, wire, burlap, plastics, beeswax, damar resin, earth pigment, charcoal, oil paint120 × 120 × 8 cm / 47 × 47 × 3 in
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RUBICON PROJECTSPatrick Michael Fitzgerald & Liam O’Callaghan both engage with elements of the ev-eryday; they each address objects, experiences and memories from their immediate environment that might be regarded as inconsequential. These artists independently highlight the transgressive and dynamic aspirations of art, adapting conventional objects and sensations to create interventions with the familiar.
Patrick Michael Fitzgerald’s work is influenced by the phenomenological, he consid-ers small details of his day-to-day life: his routines, relationships and surroundings, as source for his painting and drawing. He uses ordinary materials; colored pencil, ink, oil and collage and yet the images are taut and fresh, brimming with awareness that the act of seeing is a construction, at once fluid and disrupted. “The everyday can have a blind weight to it; the challenge is how to open it up, break it open even. The marvelous is always close at hand and often overlooked” he states that “objects in themselves tend to get lost in the world of things, the image tends to get lost in itself. This getting lost in itself is what interests me though it is dependent on the physical qualities of painting.”
Liam O’Callaghan is an alchemist in how he redefines and transforms things we are accustomed to seeing. His images are assemblages of discarded workaday objects; the individual elements reconfigured and manipulated to create new meanings and entirely new experiences. O’Callaghan’s sculptures, photographs and sound pieces expose the methods or mechanics of their construction, yet within that apparent disorder, the aesthetic of a unique object emerges. His process is lead by neces-sity, the function of each component of his installations is clear, and no attempt is made to hide the methods and materials used to make the work operate the way O’Callaghan wants. His work embraces fragility, failures and obsolescence with optimism, humour and an acknowledgement of the inherent beauty of the ordinary.
Patrick Michael Fitzgerald (b. 1965, Ireland) is based in Spain since 1990. Educated at Chelsea School of Art London where he gained his BA, 1987 & MA, 1988 in Fine Art Painting. Recent solo shows: Drawings, Guest Room, Brussels, 2010; Bihotz, Rubicon Gallery Dublin, 2010; Paintings and Drawings, Centre Culturel Irlandais, Paris, 2008. Selected group shows: O Brave New World, Rubicon Projects Brus-sels & VIII Premio Nacional de Pintura Parlamento de la Rioja, Logroño (La Rioja), Spain 2013; Twenty, Irish Museum of Modern Art, Dublin 2011; Informal Relations, Indianapolis Museum Of Contemporary Art (curator Scott Grow), USA, 2010; Alpha, Drei Raum für Gegenwartskunst Cologne, 2010.
Liam O’Callaghan (b. 1968, Ireland) is based in Dublin; he studied at Dun Laoghaire Institute of Art, Design and Technology. Recent solo shows: Bit Symphony, Temple Bar Gallery Dublin 2011; RascheRipken Gallery Berlin, 2009; Made to Make do, Rubicon Gallery Dublin, 2008; Royal Hibernian Academy Dublin, 2006; I’m a Suc-cess, Belfry Gallery Aalst, 2002. Selected group shows: O Brave New World, Ru-bicon Projects Brussels, 2013; Terrible Beauty, Dublin Contemporary 2011; Listen with your Eyes, MoranoKiang Gallery Los Angeles, 2011; Twenty, Irish Museum of Modern Art Dublin & Redefine:Readymade, Kunstverein Schwerin, 2011; Holding Together, Douglas Hyde Gallery Dublin & Reduxdelux-Small Sculptures, Parkhaus Project Space Berlin, 2010; Zombie Kunsthalle, The Talent Agency Berlin, 2009.
WEBSITE
www.rubicongallery.ie
PHONE
+ 353 1 670 8055
CELL
+353 86 811 4271+353 86 239 3819
CONTACT NAMES
Josephine KelliherCate Kelliher
EXHIBITED ARTISTS
Patrick Michael FitzgeraldLiam O’Callaghan
OTHER REPRESENTED ARTISTS
Stephen BrandesMaud CotterBlaise DrummondAnita GroenerMarie HanlonMartin HealyRonnie HughesEithne JordanNick MillerTom Molloy
COVER
Patrick Michael FitzgeraldSeptember / Gathering (detail)2012Oil and Collage on Linen160 × 180 cm
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Liam O’CallaghanFrom the series Companion Structures2013Hahnemühle Fine Art paper, archival pigment print, UV sprayed(L-R) 60.5 × 40.5 cm / 40.5 × 27 cm / 40.5 × 27 cm
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EDUARDO SECCI CONTEMPORARYEduardo Secci Contemporary is a dynamic young enterprise operating in the art world with the fundamental mission of promoting young artists that share a com-mon research expressed through different media; their work pivots on the study of human existence, on the quest for the self and for the other. Roberto Pietrosanti, a painter and sculptor of sophisticated lines as well as a refined intellectual, is one of the leading artists of Eduardo Secci Contemporary.
Despite his monochromatic rigour Pietrosanti succeeds in immediately setting up a direct rapport with the architecture that he addresses. From environment to instal-lation, he integrates the object he acts upon with consummate mastery, bringing it to life beyond the space and within it, introducing different planes, altering colour and dimensions. In a fractal vision of breadth Pietrosanti goes beyond the interior space to which the works of the Masters are substantially destined. Shining exam-ples of this are the urban installation set at the top of the steps of the Museo dell’ Ara Pacis, designed by the architect Richard Meyer, the delicate operation in the interior of the Church of San Pietro alla Carità in Tivoli and the huge bronze sphere currently in the permanent collection of the IVAM of Valencia.
Before the eyes of the observer, layered and coloured wood and paper transform the containing dimensions of walls, floors and ceilings, which morph into new and unexpected physical shapes, deforming the objects they come in contact with. The secret lies in the theatrical use of ancient materials to create futuristic scenes that are inserted within the classic or the contemporary, distorting and remoulding both the space itself and its consistency. This project, on the other hand, is conceived as an itinerant installation which will be taken to the Fiac 2013 in Paris and proposed in London, Berlin and New York as well as in one of the largest open-air spaces in Florence: Piazza Santa Croce. Between 2012 and the early months of 2013, Eduardo Secci Contemporary has presented the works of Pietrosanti to the greater public on the occasion of Art Basel Miami, the Armory Show New York and ArteFiera Bologna, achieving outstanding critical and public acclaim.
WEBSITE
www.eduardosecci.com
PHONE
+39 055 0517157
CELL+39 331 1400702
CONTACT NAMES
Eduardo SecciOttavia Sartini
EXHIBITED ARTIST
Roberto Pietrosanti
OTHER REPRESENTED ARTISTS
Paolo GrassinoFrancesco SenaBernardi RoigMrdjan Balic
COVER
Roberto PietrosantiSphere (detail)2012Patinated copperDiameter 60 cm
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Roberto PietrosantiUntitled (white)2013Mixed media on plywood125 × 110 cm
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Roberto PietrosantiUntitled (Red)2006Mixed media on plywood125 × 110 cm
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GALLERY SKAPE Lived Space (Espace Vecu) of Myeongbeom Kim and Yujung Chang, Gallery Skape
Working principally on photography, Yujung Chang raises epistemological questions about perceiving spaces, as well as questions about the authenticity. Her creation starts from an analysis of the natural scenery that we consider as normal. To the spaces and circumstances that seem clear and rational in our eyes, Chang interferes, creating illusions. Chang, who likes the kind of scenery which seems two mirrors facing each other: endless expansion of space that seems to infinitely stretch out of walls, says that she was “questioning and transforming the natural scenery” in her own way to show significance and structure of existing scenery. The images of dis-oriented position, direction of gravity, scales transform the scenes, which our eyes are accustomed to into connections of irrationality and heterogeneity. The space and objects, which perceived by the artist are represented photographically through the process of mise-en-scene and the printed image drew sometimes by the artist.
Myeongbeom Kim’s work disturbs generally accepted figurative orders and gives a rise to strange sentiments and perceptions. At first glance, one can easily trace the resemblance of objects, but we should not ignore the process of inferring oc-curred in the moment when different objects meet together. The hybridization of a violin and a tennis racket or of a crutch and a deer hoof allows the sharing and intercourse of the memories and emotions contained in each object. These woven objects extend the potential of mere ready-made objects. Kim’s works push the lim-its set by unity and clarity of daily objects and enhance the flexible metamorphosis of the contexts of the real. In his installation works that deconstruct the context of a daily life by re-displaying objects in the space, the notion of time seems to work as the main factor. Depending on each piece, he brings out time into the space or even transcends the time.
WEBSITE
www.skape.co.kr
PHONE
+82 2 747 4675
CELL
+82 10 5322 1047
CONTACT NAMES
Kyung Ae SohnYunkyong Kim
EXHIBITED ARTISTS
Myeongbeom Kim // Yujung Chang
OTHER REPRESENTED ARTISTS
Hyungkoo LeeJihyun Jung Jungwook Kim Kyuchul AhnSodam Lim Suejin ChungSungsoo Kim Youngho Yoo
COVER
Myeongbeom KimUntitled2010RopeDimension variable
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Yujung ChangEclipses (Installation view)2012Archival print on film, bulbDimension variable
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Myeongbeom KimUntitled2011Deer taxidermy, branch130 × 130 × 130 cm
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SLAG GALLERYTEMPORAL STRATAWorking in a range of mixed media practices and to meta-expressive ends now so-ciological, now environmental, now political, the artists featured by Brooklyn-based Slag Gallery — Dumitru Gorzo, Hector Dio Mendoza, and Naomi Safran-Hon — find common conceptual ground in notions of intersecting, overlapping and materially layered chronologies.
Painting atop large prints of color, black and white or ambered photographs of peo-ple in either definitively urban or patently rural settings, Gorzo deploys bold colors and energetically sure, candid brushstrokes to create stratified picture planes in which figures portrayed photographically are partially obscured or reconfigured by abstractly painted interlopers, and in which mixed personal nostalgias — at times geographically immediate, at times temporally distant, at times allowing the personal to give way to the societal — feed into and off of one another’s images in uncom-promisingly vivacious, profoundly revivified compositions.
Bound to arrayed geographical localities as a result of incorporating found objects into the mix, Mendoza’s sculptures tend ultimately toward the geological. Like the readily legible chapters of time and terrestrial torque in metamorphic rock, the vi-sual divisibilities and material morphings in Mendoza’s creations speak to change over time, environmental and technological alike, and to how one’s sense of self, substance and place might evolve and alter therewith.
Sculpturally photographic and photographically sculptural, immediately curious in their delicate muscularity, the works of Safran-Hon are so rich in material and con-ceptual relief that they appear to cleave away from the dimensions that bind them, or from the frameworks that compositionally bound them. Incorporating deeply tactile photographs of dilapidated homes, peeling walls and domestic desuetude in Wadi Salib, in her hometown Haifa, with the rugged medium of cement and the fragile materiality of lace, the Brooklyn-based artist depicts structural spaces that quake with processes of destruction — that both suffer under the forces of conflict and heave back against them, much like the broader political context imbuing these works with historical relevance.— Paul D’Agostino
WEBSITE
www.slaggallery.com
PHONE
+1 212 967 9818
CELL
+1 917 977 1848
CONTACT NAME
Irina Protopopescu
EXHIBITED ARTISTS
Dumitru GorzoHector Dionicio MendozaNaomi Safran-Hon
OTHER REPRESENTED ARTISTS
Avital BurgIoana JoaJason Clay LewisSerkan OzkayaMolly StevensMircea SuciuToma SergiuShirley Wegner
COVER
Dumitru GorzoGulps, Hiccups and other Mores (detail)2013Archival inkjet print and acrylic on canvas60 × 42 in
INSIDE
Naomi Safran-HonWadi Salib: Interior Garden (Hannah) (detail)2013Archival ink jet print, cement, lace and acrylic on canvas40 × 72 in
BACK
Hector Dionicio MendozaBUDDHA DOME (detail)2013Mixed media: plastic found objects, rust, acrylic paint, spray paint, epoxy, glass, and screws42 × 25 × 20 in
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SMAC ART GALLERY“Show me the Avant Garde and I’ll show you a good time” says Ed Young.
With an emphasis on conceptualism, Ed Young is not afraid to take risks, expressed in his various irreverent and — at times deliberately — politically incorrect pieces. Threading throughout the work is a biting sense of humour, which becomes all the more disarming when coupled with a cynical seriousness. Like a Shakespearian fool, Young ultimately brings focus to major concerns through an unsophisticated wit.
Refraining from ‘traditional’ media, Young’s practice is challenging and varied. This includes video, unorthodox performances, traditional African beadwork, hyper-real sculpture and text-based works.
Previous shows include ¡Alptraum! in Berlin, Los Angeles and Cape Town in 2011; 1910 – 2010: From Pierneef to Gugulective at the IZIKO South African National Gallery in 2010; Grin & Bear It at the Lewis Glucksman Gallery, Cork in 2009; Hollywood Remix at the Hayward Gallery in London, 2008; and The Art of Failure at Kunsthaus Baselland, Basel in 2007, as well as the T1 – Triennale Turin at Castello di Rivoli d’arte Contemporanea di Torino, Turin, Italy in 2005. Young is currently working towards a solo exhibition the SMAC Art Gallery in Stellenbosch in 2013. This will be followed by an AiR Rote Fabrik residency in Zurich facilitated by Pro Helvetia.
Operating since 2006, SMAC Art Gallery has firmly established itself by presenting critically acknowledged exhibitions, accompanied by catalogues, books and other publications. The gallery’s program is focused on promoting and representing the careers of established and younger, upcoming South African artists. The gallery also believes in encouraging and supporting international dialogue and exchange, by facilitating collaborative ventures with international artists, galleries and institutions.
In 2011, SMAC opened a second gallery in central Cape Town, increasing its scope and flexibility to organize and host diverse projects.
WEBSITE
www.smacgallery.com
PHONE
+27 21 887 3607 (Stellenbosch)+27 21 422 5100 (Cape Town)
CELL
+27 73 311 5832
CONTACT NAME
Emma Vandermerwe
EXHIBITED ARTIST
Ed Young
OTHER REPRESENTED ARTISTS
Abrie FourieAnton KarstelBarend de WetGeorgina GratrixJake AikmanJohann LouwRichard LongRoger BallenWillem BoshoffUwe Wittwer
COVER
Ed YoungMy Gallerist Made Me Do It2012Nail, Socks, Silicone, Paint and Hair79 cm high
INSIDE
Ed YoungMy Other Ride is Your Mom2013Wall PaintingDimensions variable
BACK
Ed YoungWet Pussy2011Glitter on Paper100 × 78 cm, Edition of 5
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SPECTASPECTA presents “HABITAT”. Eva Steen Christensen (DK), Peter Holst Henckel (DK) and Andreas Schulenburg (D/DK) introduce works which focus on the human habitat — the physical environment that surrounds, influences and is utilized by humans.
The human habitat holds — unlike the habitat of other species — a psychological, emotional dimension which is essential for our well-being and definition of us as individuals.
Eva Steen Christensen’s works refer in its imagery directly to something which we recognize from home; bricks — made of paper with gold thread, and a “house” — where the contours of a familiar building typology is repeated, mirrored and rotated so that the simple form unfolds in a complex web of houses. Christensen breaks our usual perception of things we know.
Peter Holst Henckel introduces a series of new photographic works where the motifs point to the habitat in a more abstract way. Henckel depicts the duality of home as a safe, well defined existential framework, which eventually becomes too limiting and does not fit anymore. The habitat holds the element of change, a con-dition which is at the same time both desirable and disturbing.
In the felt works by Andreas Schulenburg this sense of inevitable change as a dis-turbing condition is clear as Schulenburg depicts a well known image from the ruins of the twin towers as a motif for a tourist platter. Undoubtedly this image represents a common sense of a moment where our definition of habitat undertook a significant change. On a more individual perspective Schulenburg also deals with the home as a constraining condition as it is outspoken in his felted remoulade where all contents are squeezed out of the tube and spells BrainDrain.
Habitat offers a view on the human environment, with some of its complex corners of challenges and constraints.
WEBSITE
www.specta.dk
[email protected]@specta.dk
PHONE
+45 3313 0123
CELL
+45 2963 5594+45 2041 6733
CONTACT NAMES
Gitte JohannesenElse Johannesen
EXHIBITED ARTISTS
Eva Steen ChristensenPeter Holst HenckelAndreas Schulenburg
OTHER REPRESENTED ARTISTS
Thordis Adalsteinsdottir (IS/USA)Lars Arrhenius (SE)Frances Goodman (ZA)Ellen Hyllemose (DK)Jette Hye Jin Mortensen (KOR/DK)Nina Saunders (DK/UK)Daniel Svarre (DK)David Svensson (SE)Svend-Allan Sørensen (DK)Camilla Thorup (DK)
COVER
Eva Steen ChristensenReversed Houses2012Iron60 × 35 × 35 cm
INSIDE (LEFT)
Andreas SchulenburgBrainDrain2013Felt, polystyrene, mdfapp. 35 × 210 × 70 cm
INSIDE (RIGHT)
Peter Holst HenckelDouble Blind #32013lambda photography, ed. 3+1 ap104 × 72 cm
BACK
Peter Holst HenckelInstallation view, Specta at VOLTA72011
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STENE PROJECTSTHE NOVEL OF COLONIAL POWER AND AESTHETICSIn the end everything becomes a story. And if it is told over and over that story be-comes true. For centuries the Western world sought to conquer the body and mind of all lands and its peoples. Methodically all of it was categorized, explained and mythologized. In doing so The Great Story of the World was created. It still echoes today, whenever cultures clash or nature and man come head-to-head.
At the heart of this story, as in any story, is fiction. It is to a great extent a fantasy fueled by scientific evidence. A fantasy governed by the morals, taste and beliefs of the times. By re-examining these images the exhibition wants to create a new story – a novel of colonial power and aesthetics.
SOFIE PROOS (B. 1974, SWE)These portraits look so familiar. It’s the kind of pictures we’ve seen at the national galleries in Stockholm, London, Paris and Berlin. No matter where in Europe it was produced, the style is the same: a crisp face looking at you in the centre of the image. It is the gaze of Enlightenment.
But what we’re really looking at never existed. We are looking at ghosts for these images are entirely fictitious, created in the mind of Proos. Usually portraits like these are clear, like photographs painted in oil, but at the hand of Proos they are diffused watercolours. It is Reason turned into Romanticism.
EVAMARIE LINDAHL (B. 1976, SWE)It is hard to believe that people exhibited people little over a hundred years ago. But they did. In 1904, Samuel P. Verner bought a pygmy to be shown at the St. Louis fair. Two years earlier, geishas were displayed in Copenhagen. And today? People are still put on display. As late as 2005 it happened in Augsburg’s Zoo, and in 2006 in Kolmården’s Wildlife Park.
Lindahl has gone through the original articles, letters, posters, photographs and re-creates them by hand in graphite. It is a slow and painstaking process to under-stand how thirst for knowledge becomes inhumane.
JOHANNES HELDÉN (B. 1978, SWE)In 1735 the Swedish botanist Carl von Linné published his work Systema Naturae, in which he categorizes all plants known in nature into a cohesive system. His tools were words and images in a book. These are the same tools that Heldén uses to take nature apart.
Heldén lets nature spring from books, and the books become their own ecosystem. In his texts the words are disjointed to create new meanings. It is not anarchy, but an understanding that nature can not be limited to one system alone.(text by Anders Karnell)
WEBSITE
www.steneprojects.com
PHONE
+46 8 527 891 20
CELL
+46 7 689 864 95
CONTACT NAMES
Jan SteneHedwig Edsforth
EXHIBITED ARTISTS
Johannes Heldén (SWE)EvaMarie Lindahl (SWE)Sofie Proos (SWE)
OTHER REPRESENTED ARTISTS
Filippa Barkman (SWE)Matthew Benedict (USA)John E Franzén (SWE)Fredrik Hofwander (SWE)Jone Kvie (NOR)Sylvan Lionni (USA)Glen Rubsamen (USA)Suzannah Sinclair (USA)Luke Stettner (USA)Per Wizén (SWE)
COVER
EvaMarie LindahlOn Stage (detail)2012Graphite on paper130 × 180 cm
INSIDE
Johannes HeldénFirst Contact2011Mixed media35 × 25 × 5 cm
BACK (LEFT)
Sofie ProosSetting sail2013Oil on canvas40 × 50 cm
BACK (RIGHT)
Sofie ProosThe painter2013Oil on canvas26 × 23 cm
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J IR I SVESTKA GALLERYThe Jiri Svestka Gallery was established in 1995 by the art historian and curator Jiri Svestka. Located in Prague, the gallery is acting in the developing regions of Central and Eastern Europe and does pioneering work on this field. Besides exhibitions, the gallery also organizes performances, lectures and discussions with artists. This program contributes to the development of art and the art market in this region. Therefore the profile of the gallery is not only concentrated on young artists, but also, especially in the case of foreign artists, on the established generation.
In September 2009 a new branch, Jiri Svestka Berlin, which is located in the thriv-ing gallery district on Potsdamer Strasse was opened. The mission of Jiri Svestka Gallery and Jiri Svestka Berlin is to introduce young Czech, Slovak and East European artists to the international audience by picking up new discoveries as well as historic positions from the beginning of the 20th century.
WEBSITE
www.jirisvestka.com
PHONE
+420 222 311 092 (Prague)+49 30 3472 7642 (Berlin)
CELL
+420 602 367 601 (Prague)+49 152 2488 2419 (Berl in)
CONTACT NAMES
Mikulas NevanOrsolya AbrahamVeronika Chvojkova
EXHIBITED ARTISTS
Andrej DubravskyPetra FeriancovaJiri Franta / David BöhmKristof KinteraKatarina PoliacikovaJan van der PolMiroslav Tichy
OTHER REPRESENTED ARTISTS
Stefan à WengenAdela BabanovaRafal BujnowskiTony CraggDan GrahamJitka HanzlovaMaki Na KamuraIoana NemesMarketa OthovaJan Vytiska
COVER
Andrej DubravskyOlovrant (In the Forest) (detail)2013Acrylic on canvas110 × 80 cm
INSIDE
Jiri Franta / David BöhmUntitled2012Pencil on paper272 × 415 cm
BACK
Kristof KinteraBad News2011Sound track, movement mechanism, microchip controller, drum, horns, radio, clothes, etc.120 × 150 × 250 cm approx.
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TEAPOTTEAPOT presents a two-person show by Berlin based artist Susanne Rottenbacher and Cologne based Polish artist Christian Keinstar plus one wall with small paint-ings by German painter Tina Schwarz on the outer wall.
Susanne Rottenbacher works with light. Her work is based on LED structures combined with wire, acrylic glass and acrylic paint. Her static sculptures interact with the surrounding light and are often specifically planned for certain places.
Christian Keinstar uses industrial materials like lead, metal or power cable for his sculptural work. At VOLTA he will show framed lead works and a lead carpet everybody can leave his footsteps on at the booth.
Tina Schwarz is a storyteller — but you will never get the whole story: Abstract patterns and empty canvas interacts with figurative painting.
WEBSITE
www.weareteapot.com
PHONE
+49 221 789 40398
CELL
+49 177 580 9048
CONTACT NAMES
Lutz GöbelsmannPetra Martinetz
EXHIBITED ARTISTS
Christian KeinstarSusanne RottenbacherTina Schwarz
OTHER REPRESENTED ARTISTS
Oliver CzarnettaZhivago DuncanChristian EisenbergerAmir FattalHelge HommesRobert KnokeThomas PalmeRob ScholteWard ShelleyRené Stessl
COVER
Christian KeinstarSecondary Virgin2013Installation view at Christus Church, Cologne
INSIDE
Susanne RottenbacherFreiheit2012Installation view at Christus Church, Cologne
BACK
Tina SchwarzKröne dich selbst, sonst krönt dich keiner2013Oil on canvas100 × 80 cm
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TEZUKAYAMA GALLERYSatoru Tamura (b. 1972, Ibaraki, Japan) is a multimedia artist who creates sculptures, kinetic arts, video works, and installations. His works are based on a theme:”The destruction of meaning”. He seeks to create artworks of pure idea detached of any phenomenological background. The destruction takes place lightly, never gravely. It may even bring laughter. In his artworks, he constructively destroys meaning or creates a situation where no meanings attach. He tries to stay liberated from mean-ing, establishment, or purpose of material and form. Perhaps he has doubts about them. For example, 2kg Cow (2004) from his Weight sculpture series is a sculpture of a 2000g cow. Its weight is adjusted to its title. The direct relationship between title and artwork is aggressively resolved by adjusting the sculpture’s weight to 2000g. This allows the artist to circumvent meaning altogether, and in this case the concept of weighing an object, or the meaning of the word cow or the number 2000. Point of contact series shows us intermittent blinks of light bulbs but the “point of contact” itself just causes the phenomenon. In the Machine series, essentially the machine consists of motors, gears, and chains that all have their functions but the machine itself does not. The chains just rotate making the shape of their title (heart,star). Perhaps the meaning, establishment, and purpose which stick to things are our common measurement to connect ourselves with a society. They melt into our mind before we know it. Tamura intentionally destroys or ignores meaning in his works. Destroying or escaping form, its meaning, establishment, and purpose, and presents the object stripped of meaning. When its meaning, establishment, and purpose are ignored or lost, the object really will only be “the object”. “What to make” — thought to be one of the most important decisions of an artist — is decided simply each time. However, maximum caution is given when making or presenting it only as it is.
WEBSITE
www.tezukayama-g.com
PHONE
+81 6 6534 3993
CELL
+81 90 3283 2232 (Ryoichi Matsuo)+81 80 3807 9669 (Kazuhide Miyashita)+81 80 3817 3187 (Chie Uchida)
CONTACT NAMES
Ryoichi MatsuoKazuhide MiyashitaChie Uchida
EXHIBITED ARTIST
Satoru Tamura
OTHER REPRESENTED ARTISTS
Akiko SumiyoshiKaoru SoenoYoshiyuki OoeHiroko UeharaHirohito NomotoYasuka GotoTomohiro KatoMisato KurimuneMariko NodaYuuki Tsukiyama
COVER
Satoru TamuraHeart machine #32012Steel, chain, bearing, motor and others29 × 15 × 30 cm
INSIDE
Satoru TamuraPoint of Contact for Nagashima 2-4-202011Mixed mediaSize variable(Courtesy of AIRS; Photo by Motoyuki Shitamichi)
BACK
Satoru Tamura2 kg Cow / Weight sculpture2004Casted cow, digital scale, aluminum and others35 × 25 × 32 cm
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TINT GALLERYTinT gallery has, since 2002, been under a new name and management with the aim of promoting and presenting trends in contemporary art, focusing on conceptually based works by young artists.
Since 2003, TinT gallery has collaborated with other cultural institutions such as the Macedonian Museum of Contemporary Art, the Museum of Cinematography and the Museum of Photography etc, organizing off site projects and large-scale cul-tural events. In 2004, the gallery launched its Project room, a specially designated exhibition space, where young artists are given the opportunity to experiment with in situ installations within a non-profit gallery setting. Since 2007, together with group exhibitions by independent curators, the gallery has accommodated several autono-mous teams of artists. The outcome has been a series of highly intriguing exhibitions.
Ever since its opening, TinT gallery’s motivation was to create a supportive and encouraging environment for young artists to work.
In his work V. Gokas appropriates images from photographs, which he disaffirms with the medium of painting. The real/virtual spaces are defined by an aura of vague mystery and allusive coverage. Even when he employs plain objects as themes, he replaces the everyday gaze with a “painting” intermediation, by inviting the viewer to reconstitute the image in association with subjective experiential references.
In a self-limiting formation of a strict design-protocol — somewhere between mania, speaking to oneself and zen exercise — and by building on the images of encyclo-pedia and scientific manuals’ illustrations, M. Kriara explores the extreme limits of personally interpreting reality that can fertilise hypotheses about the coherence of the fractured and narrative load of the representations.
Using language, voice, plasticine, light, photography and motion, V. Stylianidou explores through her videos and photographs the phenomenon of power, money and crisis in opposition to the natural dynamics of language as an experimental practice of the subject.
C. Tsiota’s work attempts to revive the spectator’s ability to imagine a world of dreams, visions and everyday mythology. She is interested in exploring scenar-ios of truth versus fiction, the physiology of seeing, the visual habits of looking, stereotypes and clichés that people unconsciously take for granted. Photography, language, video, movement, writing, human voice and interaction, are the artistic materials she uses.
WEBSITE
www.tintgallery.gr
PHONE
+30 2310 235689
CELL
+30 6944 505258
CONTACT NAME
Andromachi Pesmatzoglou
EXHIBITED ARTISTS
Vangelis GokasMaria KriaraVassiliea StylianidouChryse Tsiota
OTHER REPRESENTED ARTISTS
Christos Delidimos / GRThanos Klonaris / GRSotiris Panousakis / GRNikos Papadimitriou / GRArtemis Potamianou / GRTracey Snelling / USEleni Theofilaktou / GRChristos Venetis / GRUlrich Vogl / DEYiorgis Yerolympos / GR
COVER
Vassiliea StylianidouWarrooms 32010Digital photo34 × 23.5 cm
INSIDE
Vangelis GokasRaum (detail)2012Oil on canvas90 × 100 cm
BACK (LEFT)
Chryse TsiotaTravel blind2009Digital photo100 × 162 cm
BACK (RIGHT)
Maria KriaraUntitled (detail)2013Pencil on paper60 × 120 cm
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V1 GALLERYV1 Gallery was founded in 2002. The gallery represents a select group of emerging and established artists and is committed to introducing art, in all media, to an in-ternational audience. Seeing art as a profound and competent media for social and political discourse, the gallery aspires to serve as a platform for art that interacts with the surrounding society.
V1 Gallery’s affiliated artists are represented in the following public and private col-lections: MoMA (NYC), MoMa (SF), The National Gallery (CPH), ARKEN – Museum of Modern Art – (CPH), ARoS – Aarhus Museum of Modern Art (AAR), The National Photo Museum (CPH, DK), Deste Foundation for Contemporary Art (G), Malmö Kon-stmuseum (S), Saatchi Collection (UK), Brask Collection (DK), Sender Collection (US), West Collection (US), Djurhuus Collection (DK), Aegidius Collection (DK), Faa-rup Collection (DK), Hoff Collection (NO), Statoil Collection (NO), amongst others.
In 2010 V1 Gallery received the FEAGA prize (Federation of European Art Galleries Association) at ARTBASEL 41 for Outstanding Creativity and Innovation.
The Gallery’s director Jesper Elg also works as an independent curator and is a member of The Danish Arts Councils Committee for International Art (2011 – 2014).
WEBSITE
www.v1gallery.com
PHONE
+45 3331 0321
CELL
+45 2682 8166
CONTACT NAMES
Jesper ElgJosephine Fity
EXHIBITED ARTISTS
Todd JamesHusk Mit NavnGeoff McFetridgeKatherine BernhardtJohn CopelandAnika LoriWes LangJacob Holdt
OTHER REPRESENTED ARTISTS
Andrew SchoultzAsger CarlsenJulie NordMatthew StoneMisaki KawaiPeter FunchShepard FaireyThomas CampbellThomas ØvlisenTroels Carlsen
COVER
Katherine BernhardtUntitled2008Acrylic on canvas91.4 × 61 cm
INSIDE
Jacob HoldtUntitled (from American Pictures)Printed in 2013, taken between 1970 – 75Digital C-print on crystal archive paper. framed, edition of 7 + 2 ap80 × 110 cm
BACK (LEFT)
John CopelandThere Is Nothing For You Here2012Oil and acrylics on canvas152 × 137 cm
BACK (RIGHT)
Todd JamesDr. Dandilion2012Acrylic on canvas122 × 92 cm
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VANEMichael Mulvihill and Stephen Palmer both make highly finished, meticulously crafted drawings that share an obsession with the decay of contemporary culture and a sense of anxiety for the future.
Michael Mulvihill’s drawings are weighted with a sense of menace; his landscapes, urban scenes and portraits are all potential harbingers of disasters waiting to hap-pen. The sense of foreboding is exacerbated by his obsessive process: images are the result of heavily worked pencil on paper, built up through repeated erasure and overdrawing, leaving a series of ‘ghosted’ images below the finished drawing itself. This process creates visions of a world that is, in the artist’s own words, ‘in the process of dissolving’.
In the drawing series The Pursuit of Happiness the tiny scale of the drawings refers to online thumbnails from where the images have been taken. Some depict explo-sions from Cold War nuclear tests. The increasing power of these weapons dem-onstrated the resolve with which each side pursued their respective ideologies and their own visions of society and happiness. Other drawings from this series are por-traits of players in the game: some show Soviet cosmonauts, others show members of the RAND Corporation — the think tank formed to offer research and analysis to the United States armed forces — that devised strategies for fighting a nuclear war according to Game Theory. The drawings stand as game-markers attempting to unravel the ideas and motivations of the leaders that directed the history of the Cold War, a history that still resonates today.
Stephen Palmer’s most recent drawings are based on newspaper clippings. The stories are not strictly ‘news’ but rather look to reanalyse historic events. Each clip-ping is rendered in precise detail, a transcription that has the effect of conferring worth to events that may otherwise appear of little importance. Whilst the selection of stories might at first appear random — UFOs, World War Two, a chess match, stamp collecting — the topics are those that attract a fanatical following. Newspa-pers have a particular value to obsessive collectors, who fill their homes with print, hoping perhaps that the information contained will impart knowledge, or offer up a form of control that is lacking in their lives.
Some stories reference a recent news topic: the failing property market is juxtaposed with a fascination for spaces once inhabited by famous authors; the current Euro-pean financial crisis is linked with reparation payments for events that happened during World War Two. In a group of obituary drawings, the deletion of text from the original leaves only a visual clue to the dead person’s story. A single image acts as a summation of a life and a reminder that our legacy may be based on a few memo-rable events. Palmer’s drawings can be viewed as an obituary to the printed page, but also a reminder that virtual means of delivery often come to coexist alongside the physical formats that they look to improve upon.
Michael Mulvihill (b. 1973, Jarrow) lives in Gateshead, UK. His first solo exhibition for Vane, ‘The Pursuit of Happiness’, was in February-March 2013. He has exhibited recently in Durham, Cambridge, Berlin, Chicago, and New York. Stephen Palmer (b. 1967, Alton) lives in London, UK. His third solo exhibition for Vane, ‘The end has no end’, was in February-March 2013. He has exhibited recently in Glasgow, Edinburgh, Berlin, Prague, and New York.
WEBSITE
www.vane.org.uk
PHONE
+44 191 261 8281
CELL
+44 771 309 7852
CONTACT NAMES
Paul StoneChristopher Yeats
EXHIBITED ARTISTS
Michael MulvihillStephen Palmer
OTHER REPRESENTED ARTISTS
Héctor Arce-EspasasEC DaviesKerstin DrechselJorn EbnerNick FoxNadia HebsonSimon Le RuezJock MooneyJosué PellotFlora Whiteley
COVER
Stephen PalmerHeadline acts2011Graphite on paper28.5 × 42 cm
INSIDE
Michael MulvihillThe End of History (Chicago 9)2011Graphite on paper10 × 15.5 cm
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VERNON GALLERYVernon’s vision is to place world and Czech art side by side as equal partners and look for links between the artists. The gallery has almost 200 square metres of space and is full of windows, thus able to offer perfect light conditions for exhibiting works of art. Vernon Gallery was founded by its director Monika Burian Jourdan in 2001.
Jan Mikulka and Simone Fugazzotto’s artistic voice has been shaped throughout their experience around the world in a quest of unique identity already recognised by the art world. Mikulka was recently awarded the new SELF prize created by the Royal Society of Portrait Painters and will go on to show at the Mall Galleries in London throughout May.
Simone (b. 1983) started his relationship with visual art very young: a cartoonist as a child, a lover of art history in adolescence, a painter in the Academy. The brush-works becomes intense, strong, almost like a scratch, the canvas is an integral part of work, then comes the plexiglass and concrete. Figures of “sophisticated” humans in disparate situations are combined with the figure of monkey — out of point of origin, an example oft he harmony in which is possibility to co-exist with the nature, a model of simplicity and of integrity.
Photorealist Mikulka, who has participated in an atelier of classical painting, led by professor Beran on Prague´s AVU, where his creativity spawned to develop sig-nificant talents, including the renaissance of figural painting. Jan also works from photos, but his interpretation holds personal tribute. It is not cold-blooded formal-ization of what you see, but try to go through physical ego of concrete man in every individual detail.
WEBSITE
www.galerievernon.com
PHONE
+42 773 915 510
CELL
+42 77 715 5593
CONTACT NAME
Monika Burian Jourdan
EXHIBITED ARTISTS
Daniel GonzalezIrena JůzováJan MikulkaMaria Pia SeveriSimone Fugazzotto
OTHER REPRESENTED ARTISTS
Daniel HanzlíkGrimanesa AmorósJonathan FeldschuhKit ReischLLuis LLeoMarkéta HlinovskáPetra PolifkováStefano CagolTomáš Lahoda
COVER
Jan MikulkaBathtub (detail)2013Oil on canvas120 × 80 cm
INSIDE
Simone FugazzottoThe Three of Life2013Oil on plexiglass and concrete board50 × 100 × 10 cm
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Jan MikulkaPortrait of Mr.Hackel2013Oil on canvas110 × 60 cm
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WHATIFTHEWORLD / GALLERYWHATIFTHEWORLD / GALLERYWHATIFTHEWORLD acts as a platform for a new generation of emerging South African contemporary artists, and was selected in 2007 by Contemporary Magazine (London) as one of the ‘Top 50 Emerging Galleries from Around the World.’ This fast-rising young gallery has become a destination point for curators and collectors to experience innovative work, and to become acquainted with some new names. By giving voice to new talents, the gallery intends to grow public dialogue and critical debates within the contemporary art community, and to provide an alternative to the traditional art structures and institutions. WHATIFTHEWORLD has been firmly behind the careers of several rising stars on the South African contemporary art scene, and is committed to building and nurturing strong relationships with each artist to support their continuing professional development. The gallery has hosted a series of critically acclaimed solo and group exhibitions, and published numerous catalogues and artist monographs.
DAN HALTERDan Halter’s artistic practice is informed by his position as a white Zimbabwean living in South Africa. Using materials ubiquitous to South Africa and Zimbabwe, Halter employs the language of craft and curio as a visual strategy to articulate his concerns within a fine art context. Through this, as well as through photography and video, Halter addresses notions of a dislocated national identity and the politics of post-colonial Zimbabwe within a broader African context.
Halter (b. 1977, Zimbabwe) completed his BFA at the Michaelis School of Fine Art in 2001. In addition to five solo exhibitions, Halter has participated in numerous group shows including US at the South African National Gallery, curated by Simon Njami; Zeitgenössiche aus Südafrika at the Neuer Berliner Kunstverein (NBK); VideoBrasil in São Paulo; and the 2009 Havana Biennale. He has completed three international residencies, in Zürich, Rio de Janeiro and Scotland. Recent exhibitions include the 7th Triennial of Contemporary Textile Arts (Tournai, Belgium) and Dan Halter / Mappa Del Mondo at the Nassauischer Kunstverein Weisbaden (Weisbaden, Germany).
WEBSITE
www.whatiftheworld.com
PHONE
+27 21 802 3111
CELL
+27 76 422 2387
CONTACT NAMES
Ashleigh McLean (Gallery Curator)Justin Rhodes (Gallery Director)
EXHIBITED ARTIST
Dan Halter
OTHER REPRESENTED ARTISTS
Athi Patra-RugaCameron PlatterFrances GoodmanJohn MurrayJulia Rosa ClarkLyndi SalesMicheal TaylorPeter EastmanPierre FouchéRodan Kane Hart
COVER
Dan HalterNervous Conditions (detail)2012Woven archival prints on Ivory Enigma paper88 × 180 cm
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Dan HalterThings Fall Apart 1 & 22012Found plastic mesh bag, custom-made Tartan fabric69 × 105 cm
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Dan HalterNecklace2012Found Tyre, Matches60 × 14.5 cm
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WIDMER+THEODORIDIS CONTEMPORARYWIDMER+THEODORIDIS contemporary represents young artists focussing on drawing, photography and new media. Particular attention is given to authentic and stirring tendencies in art. For VOLTA9 the gallery has teamed up two different art-ists with similar perception. Stunning craftmanship and gentle low-key images that emphasise a deceptive superficial calm.
In his work Othmar Eder appoints the origin of most motives but impedes a temporal determination of this space. Mountains carry a huge, but also slow temporality and many traces on and under their surface. In these numerous and sometimes deep shifts one may read and observe earth history. Eder references his work in many ways to it. Cut like he detaches what happens from time and ends the temporality of his objects. Photographs and findings that he collects from his hikes and forays build the foundation of his drawings and objects.
Othmar Eder (b. 1955) lives and works in Stettfurt CH. He graduated from the Akad-emie der Bildenden Künste in Wien. He has received many prizes and honours, including the Thurgauer Förderpreis 2009. Many international exhibitors have pre-sented his art work, such as Museum Bickel Walenstadt and Neue Galerie Innsbruck.
Fantasies of our existential vulnerability and our hopes are mirrored in Nadine Wottke’s bone china figures. The man on the bull in I don’t want your freedom is re-vealing himself in a naked and passionate way: riding on a bull riding machine and leisurely blowing pink chewing gum. Wottke captures the short moment of insight when we stand naked in front of our inner eye and are able to recognise ourselves.
Nadine Wottke (b. 1978) lives and works in Erfurt D. She graduated from the Bau-haus- Universität, Weimar Germany. Her artwork is mainly presented in Germany and has been exhibited in the Kunsthalle Erfurt and the Neues Museum Weimar.
WEBSITE
www.0010.ch
PHONE
+41 43 497 3970
CELL
+41 79 293 1852+41 79 443 1154
CONTACT NAMES
Jordanis TheodoridisWerner Widmer
EXHIBITED ARTISTS
Othmar EderNadine Wottke
OTHER REPRESENTED ARTISTS
Erika BabatzAndreas FuxSybille Hotzhuber.huberScanderbeg SauerMichael SchnabelErnst StarkStefan ThielNicolas VionnetFranz Wassermann
COVER
Nadine WottkeHungry eyes2012Porcelain, silver plated13 × 17 × 33 cm
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Othmar EderZwerg2013Carbon drawing on paper48 × 64 cm
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Nadine WottkeExtraordinary2012Porcelain, latex, carbon36 × 36 × 17 cm
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SELECTED PUBLIC COLLECTIONSThe Tate Gallery. Museum of Modern Art. The Brooklyn Museum. The Solomon R. Guggenheim Museum. Princeton Art Gallery. Philadelphia Museum of Art. Los Angeles County Museum. Eastman House, Rochester. National Gallery of Canada. Metropolitan Museum. Victoria and Albert Museum. Australian National Gallery. Stedelijk Museum. Stedelijk Van Abbemuseum. Art Gallery of Ontario. National Gallery of Scotland. British Council. Musée St. Pierre. FRAC. National Gallery of Iceland. University of Lethbridge.
WEBSITE
www.voltashow.com
EDITION ARTIST
Hamish FultonRepresented by espaivisor – Visor Gallery
FORMER EDITION ARTISTS
Jason GringlerCarlos Aires (sold out)Troels CarlsenZilvinas Kempinas (sold out)Eduardo SarrabiaMelanie Schiff (sold out)Martin LiebscherUlf Puder (sold out)Takehito Koganezawa
COVER
Hamish FultonBoulder II2006
INSIDE ( TOP)
Hamish Fulton exhibition view at art Cologne’s espaivisor booth
INSIDE (FROM LEFT TO RIGHT)
#1 11 pieces of cut ruler. For: An 11-day circular walk 10 nights camping. Wind River Range, Wyoming, September 1995.
#2 8 one-day walks and a guided climb to the summit of the Marmolada. Dolomites, Italy, 24 September to 2 October 2004.
#3 Fujiyama – A 19-day coast to coast walking journey, Toyama Bay, Ontake Summit, Fuji Summit, Suruga Bay, Japan, early Summer 1988.
#4 8 one-day walks and a guided climb to the summit of the Marmolada. Dolomites, Italy, 24 September to 2 October 2004.
#5 21 pieces of cut ruler. For: A 21-day wandering walk 20 nights camping in the Beartooth Mountains, ending with the September full moon, Montana 1997.
VOLTA EDIT ION ARTIST: HAMISH FULTONMY SELF-IMPOSED RULE IS:I ONLY MAKE ART ABOUT THE PARTICULAR WALKS THAT I HAVE EXPERIENCED.
THIS MEANS: EVERY ARTWORK I MAKE MUST INCLUDE A WALK TEXT.
Q. Why words?
A. Words can exist in any size and are independent of any one medium or language
WALKS ARE THE KILOMETER STONES OF MY LIFE. EACH WALK MARKS THE FLOW OF TIME BETWEEN BIRTH AND DEATH.
By ignoring nature humans are destroying the world.Through education we need to respect the diverse life forms of the planet.Temporary scientific solutions will not save us.
HAMISH FULTON